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_13839606": {
"type": "attachments",
"id": "arts_13839606",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13839606",
"found": true
},
"parent": 13839604,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Moss-St-Rehearsal-520x317.png",
"width": 520,
"mimeType": "image/png",
"height": 317
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Moss-St-Rehearsal-946x576.png",
"width": 946,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Moss-St-Rehearsal-160x98.png",
"width": 160,
"mimeType": "image/png",
"height": 98
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Moss-St-Rehearsal-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Moss-St-Rehearsal-375x229.png",
"width": 375,
"mimeType": "image/png",
"height": 229
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Moss-St-Rehearsal.png",
"width": 946,
"height": 577
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Moss-St-Rehearsal-50x50.png",
"width": 50,
"mimeType": "image/png",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Moss-St-Rehearsal-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Moss-St-Rehearsal-800x488.png",
"width": 800,
"mimeType": "image/png",
"height": 488
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Moss-St-Rehearsal-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Moss-St-Rehearsal-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Moss-St-Rehearsal-150x150.png",
"width": 150,
"mimeType": "image/png",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Moss-St-Rehearsal-768x468.png",
"width": 768,
"mimeType": "image/png",
"height": 468
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Moss-St-Rehearsal-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Moss-St-Rehearsal-240x146.png",
"width": 240,
"mimeType": "image/png",
"height": 146
}
},
"publishDate": 1535056745,
"modified": 1535056786,
"caption": "Moss St. opened 35 years ago.",
"description": null,
"title": "Moss St Rehearsal",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13839182": {
"type": "attachments",
"id": "arts_13839182",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13839182",
"found": true
},
"parent": 13839171,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-520x293.jpeg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-1038x576.jpeg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-160x90.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-960x540.jpeg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-375x211.jpeg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig.jpeg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-1020x574.jpeg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-1180x664.jpeg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-1200x675.jpeg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-50x50.jpeg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-96x96.jpeg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-800x450.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-64x64.jpeg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-32x32.jpeg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-1920x1080.jpeg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-1180x664.jpeg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-1920x1080.jpeg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-150x150.jpeg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-768x432.jpeg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-128x128.jpeg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/katie-herzig-240x135.jpeg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1534455061,
"modified": 1534455159,
"caption": "Singer-songwriter Katie Herzig, whose music has appeared in the popular series 'Big Little Lies' and 'Grey's Anatomy,' says she sees San Francisco as a refuge for LGBTQ artists. ",
"description": "Singer-songwriter Katie Herzig, whose music has appeared in the popular series 'Big Little Lies' and 'Grey's Anatomy,' says she sees San Francisco as a refuge for LGBTQ artists. ",
"title": "katie herzig",
"credit": "Courtesy of Katie Herzig ",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13839167": {
"type": "attachments",
"id": "arts_13839167",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13839167",
"found": true
},
"parent": 13838966,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-520x287.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 287
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-160x88.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 88
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-960x530.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 530
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-375x207.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 207
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1.jpg",
"width": 1920,
"height": 1059
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-1020x563.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 563
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-1180x651.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 651
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-1200x662.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 662
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-800x441.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 441
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-1920x1059.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1059
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-1180x651.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 651
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-1920x1059.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1059
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-768x424.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 424
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/KQED_jv_closeup-1-240x132.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 132
}
},
"publishDate": 1534447203,
"modified": 1534447235,
"caption": "John Vanderslice prepares to hit the road on his cross-country tour of living rooms, which kicks off Aug. 20 in Chicago. ",
"description": "John Vanderslice prepares to hit the road on his cross-country tour of living rooms, which kicks off Aug. 20 in Chicago. ",
"title": "KQED_jv_closeup",
"credit": "Nicole Gluckstern",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13834612": {
"type": "attachments",
"id": "arts_13834612",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13834612",
"found": true
},
"parent": 13834539,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660.jpg",
"width": 1173,
"height": 660
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/06/shannon-shaw-2018-alysse-gafkjen-2-1270x660-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1528403218,
"modified": 1528403276,
"caption": "Shannon Shaw's solo debut, 'Shannon in Nashville,' comes out June 8, 2018.",
"description": "Shannon Shaw's solo debut, 'Shannon in Nashville,' comes out June 8. ",
"title": "shannon-shaw-2018-alysse-gafkjen-2-1270x660",
"credit": "Alysse Gafkjen",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13833405": {
"type": "attachments",
"id": "arts_13833405",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13833405",
"found": true
},
"parent": 13833347,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/TiffanyHaddish-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1527131413,
"modified": 1527131477,
"caption": "Actress Tiffany Haddish during panel discussion at the Steven J. Ross Theatre on April 29, 2018 in Burbank, California. ",
"description": "Actress Tiffany Haddish during panel discussion at the Steven J. Ross Theatre on April 29, 2018 in Burbank, California. ",
"title": "TiffanyHaddish",
"credit": "Leon Bennett/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13833345": {
"type": "attachments",
"id": "arts_13833345",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13833345",
"found": true
},
"parent": 13833343,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727.jpg",
"width": 1617,
"height": 911
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-1020x575.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 575
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-1200x676.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 676
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-1920x2400.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 2400
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-1920x2400.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 2400
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/sheermag-e1527118327727-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1527118280,
"modified": 1527125442,
"caption": "Philadelphia's Sheer Mag play in San Jose and San Francisco.",
"description": "Philadelphia's Sheer Mag play in San Jose and San Francisco.",
"title": "Philadelphias Sheer Mag plays in San Jose and San Francisco next week.",
"credit": "Artist Photo",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13831737": {
"type": "attachments",
"id": "arts_13831737",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13831737",
"found": true
},
"parent": 13831729,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/CEve_780-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/CEve_780-780x576.jpg",
"width": 780,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/CEve_780-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/CEve_780-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/CEve_780-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/CEve_780.jpg",
"width": 780,
"height": 585
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/CEve_780-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/CEve_780-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/CEve_780-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/CEve_780-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/CEve_780-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/CEve_780-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/CEve_780-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/CEve_780-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1525890818,
"modified": 1525890876,
"caption": null,
"description": "This painting is artist Christina Eve's attempt to recreate the images she sees when she listens to the music of Bleachers",
"title": "This painting is artist Christina Eve's attempt to recreate the images she sees when she listens to the music of Bleachers.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13830718": {
"type": "attachments",
"id": "arts_13830718",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13830718",
"found": true
},
"parent": 13830717,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/La-Misa-Negra-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/La-Misa-Negra-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/La-Misa-Negra-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/La-Misa-Negra-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/La-Misa-Negra.jpg",
"width": 800,
"height": 450
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/La-Misa-Negra-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/La-Misa-Negra-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/La-Misa-Negra-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/La-Misa-Negra-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/La-Misa-Negra-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/La-Misa-Negra-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/La-Misa-Negra-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/La-Misa-Negra-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/La-Misa-Negra-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1525015142,
"modified": 1525015154,
"caption": null,
"description": null,
"title": "La Misa Negra",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13826727": {
"type": "attachments",
"id": "arts_13826727",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13826727",
"found": true
},
"parent": 13826724,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron.jpg",
"width": 1920,
"height": 1440
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/Annie-Stron-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1520547289,
"modified": 1520550152,
"caption": "Annie Southworth in 2008 ",
"description": "Annie Southworth in 2008 ",
"title": "Annie Stron",
"credit": "Ritzy Preston Boyd",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13825623": {
"type": "attachments",
"id": "arts_13825623",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13825623",
"found": true
},
"parent": 13825462,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/JapaneseBreakfast-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1519631379,
"modified": 1629756848,
"caption": "Japanese Breakfast plays the 2018 Noise Pop Music and Arts Festival. ",
"description": "Japanese Breakfast plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)",
"title": "JapaneseBreakfast",
"credit": "Estefany Gonzalez",
"status": "inherit",
"altTag": "Japanese Breakfast plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)",
"isLoading": false,
"fetchFailed": false
},
"arts_13819787": {
"type": "attachments",
"id": "arts_13819787",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13819787",
"found": true
},
"parent": 13819786,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rose-Droll-Photo-by-Rachel-McCord-520x293.jpeg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rose-Droll-Photo-by-Rachel-McCord-160x90.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rose-Droll-Photo-by-Rachel-McCord-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rose-Droll-Photo-by-Rachel-McCord-375x211.jpeg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rose-Droll-Photo-by-Rachel-McCord.jpeg",
"width": 800,
"height": 450
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rose-Droll-Photo-by-Rachel-McCord-50x50.jpeg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rose-Droll-Photo-by-Rachel-McCord-96x96.jpeg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rose-Droll-Photo-by-Rachel-McCord-800x450.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rose-Droll-Photo-by-Rachel-McCord-64x64.jpeg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rose-Droll-Photo-by-Rachel-McCord-32x32.jpeg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rose-Droll-Photo-by-Rachel-McCord-150x150.jpeg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rose-Droll-Photo-by-Rachel-McCord-768x432.jpeg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rose-Droll-Photo-by-Rachel-McCord-128x128.jpeg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/Rose-Droll-Photo-by-Rachel-McCord-240x135.jpeg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1516722694,
"modified": 1516722719,
"caption": null,
"description": null,
"title": "Rose Droll",
"credit": "Photo by Rachel McCord",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13818447": {
"type": "attachments",
"id": "arts_13818447",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13818447",
"found": true
},
"parent": 13818446,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa.jpg",
"width": 2202,
"height": 1238
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/01/gettyimages-863384620_wide-70cf850dac525a4eb03b7c54305a2c0f6a4c89fa-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1515027534,
"modified": 1515027534,
"caption": null,
"description": "The Weeknd will headline Coachella 2018 along with Beyonce and Eminem.",
"title": "The Weeknd will headline Coachella 2018 along with Beyonce and Eminem.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13839171": {
"type": "authors",
"id": "byline_arts_13839171",
"meta": {
"override": true
},
"slug": "byline_arts_13839171",
"name": "Juli Fraga",
"isLoading": false
},
"byline_arts_13831729": {
"type": "authors",
"id": "byline_arts_13831729",
"meta": {
"override": true
},
"slug": "byline_arts_13831729",
"name": "Christina Eve",
"isLoading": false
},
"byline_arts_13818446": {
"type": "authors",
"id": "byline_arts_13818446",
"meta": {
"override": true
},
"slug": "byline_arts_13818446",
"name": "Sidney Madden",
"isLoading": false
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"baybridged": {
"type": "authors",
"id": "178",
"meta": {
"index": "authors_1716337520",
"id": "178",
"found": true
},
"name": "The Bay Bridged",
"firstName": "The Bay",
"lastName": "Bridged",
"slug": "baybridged",
"email": "thebaybridged@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/211daad5386ad504c39c31f3e16cfae45ec7b0ad32ecca7ee64cfd9b7eb76609?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "The Bay Bridged | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/211daad5386ad504c39c31f3e16cfae45ec7b0ad32ecca7ee64cfd9b7eb76609?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/211daad5386ad504c39c31f3e16cfae45ec7b0ad32ecca7ee64cfd9b7eb76609?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/baybridged"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"slefebvre": {
"type": "authors",
"id": "11091",
"meta": {
"index": "authors_1716337520",
"id": "11091",
"found": true
},
"name": "Sam Lefebvre",
"firstName": "Sam",
"lastName": "Lefebvre",
"slug": "slefebvre",
"email": "sdlefebvre@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Sam Lefebvre is an award-winning reporter at KQED Arts. He has worked as an editor and columnist at the \u003cem>East Bay Express\u003c/em>, \u003cem>SF Weekly \u003c/em>and Impose Magazine, and his journalism and criticism has appeared in \u003cem>The New York Times\u003c/em>, the Guardian and Pitchfork.",
"avatar": "https://secure.gravatar.com/avatar/49d39b42930b77fb13784ddd9fa63fe780666b71bf289368509dba576b64e69b?s=600&d=blank&r=g",
"twitter": "Lefebvre_Sam",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Sam Lefebvre | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/49d39b42930b77fb13784ddd9fa63fe780666b71bf289368509dba576b64e69b?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/49d39b42930b77fb13784ddd9fa63fe780666b71bf289368509dba576b64e69b?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/slefebvre"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"ngluckstern": {
"type": "authors",
"id": "11497",
"meta": {
"index": "authors_1716337520",
"id": "11497",
"found": true
},
"name": "Nicole Gluckstern",
"firstName": "Nicole",
"lastName": "Gluckstern",
"slug": "ngluckstern",
"email": "gluckstern.nicole@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/2c3d593194017bfe811a998ad03140909de330b22abebf4889e1a564ce5b3495?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Nicole Gluckstern | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/2c3d593194017bfe811a998ad03140909de330b22abebf4889e1a564ce5b3495?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/2c3d593194017bfe811a998ad03140909de330b22abebf4889e1a564ce5b3495?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ngluckstern"
},
"akrigbaum": {
"type": "authors",
"id": "11510",
"meta": {
"index": "authors_1716337520",
"id": "11510",
"found": true
},
"name": "Ashleyanne Krigbaum",
"firstName": "Ashleyanne",
"lastName": "Krigbaum",
"slug": "akrigbaum",
"email": "akrigbaum@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"news"
],
"title": "Producer, Rightnowish",
"bio": "Ashleyanne Krigbaum is the producer of \u003cem>\u003ca href=\"http://kqed.org/rightnowish\">Rightnowish\u003c/a>\u003c/em>. \u003cem> \u003c/em>She has also made podcasts for Noise Pop, Salon, and award-winning audio tours for SFMOMA, Smithsonian, and the de Young Museum. From 2015 to 2018, she was an announcer and local host of NPR's\u003cem> All Things Considered\u003c/em> at KALW. When she's not making podcasts, she's DJing vinyl at dance parties around the Bay Area.",
"avatar": "https://secure.gravatar.com/avatar/b2293d2c51dd71bb43202016faa0892d?s=600&d=blank&r=g",
"twitter": "wambamash",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Ashleyanne Krigbaum | KQED",
"description": "Producer, Rightnowish",
"ogImgSrc": "https://secure.gravatar.com/avatar/b2293d2c51dd71bb43202016faa0892d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/b2293d2c51dd71bb43202016faa0892d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/akrigbaum"
}
},
"pagesReducer": {
"arts_tag_indie-rock": {
"type": "terms",
"id": "arts_21788",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21788",
"score": 10.407476
},
"featImg": null,
"name": "indie rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "indie rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21800,
"slug": "indie-rock",
"isLoading": false,
"title": "indie rock",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 5
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=indie-rock",
"seeMore": false,
"paginated": true,
"page": 5
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://hls.kqed.org/hls/kqed_app/playlist.m3u8",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13839604": {
"type": "posts",
"id": "arts_13839604",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13839604",
"score": null,
"sort": [
1535396420000
]
},
"guestAuthors": [],
"slug": "moss-street-rehearsal-studio-tenants-evicted-by-luxury-realtor",
"title": "Moss Street Rehearsal Studio Tenants Evicted by High-End Realtor",
"publishDate": 1535396420,
"format": "standard",
"headTitle": "Moss Street Rehearsal Studio Tenants Evicted by High-End Realtor | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Tenants of San Francisco practice space Moss Street Rehearsal Studios received 30-day eviction notices Aug. 13, bringing an end to the business after 35 years. \u003c/p>\n\u003cp>The rehearsal space, located at the corner of Moss and Folsom streets, is a turn-of-the-century Victorian subdivided into eight monthly practice units and one residence for an on-site manager. According to its owner, the space was founded in 1983 by musicians, including one who roadied for the Grateful Dead. \u003c/p>\n\u003cp>Jake Rodriguez, a nine-year Moss St. tenant and an experimental artist who performs as \u003ca href=\"https://branpos.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">bran(…)pos\u003c/a>, described it as the best practice space he’s encountered in the Bay Area. He called the eviction and news of the \u003ca href=\"https://www.kqed.org/arts/13839003/hemlock-tavern-to-close-in-early-october\">Hemlock Tavern’s closure\u003c/a> a “1-2 punch by the Bay.” \u003c/p>\n\u003cp>Groups that have rehearsed at Moss St., which local artists describe as a fixture of San Francisco’s underground rock scene in the 2000s, include Thee Oh Sees, Burmese, Sic Alps, Erase Errata, XBXRX, Total Shutdown, and the Flying Luttenbachers. \u003c/p>\n\u003cp>Pam Dubier, a Sotheby’s realtor specializing in overseas investment and “high-end Northern San Francisco neighborhoods,” according to \u003ca href=\"http://dubiergroup.com/about/\">her website\u003c/a>, bought the building and the business in 2007. The 30-day notices, posted to all occupied units, came from Daniel Bornstein, an attorney known for hosting \u003ca href=\"https://www.sfgate.com/bayarea/article/Lawyer-pumps-up-S-F-landlords-at-boot-camp-5008552.php\" rel=\"noopener\" target=\"_blank\">eviction “boot camps”\u003c/a> for landlords.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dubier told KQED she bought the building because, growing up in New Orleans, she developed an appreciation for local music. But she added that there’s less and less demand for rehearsal space in San Francisco. “The musicians with money have their own studios at home now,” she said. “Unfortunately, a lot of local musicians have had to leave the area.”\u003c/p>\n\u003cp>Dubier said she’s struggled to fill two vacant units: one has been empty for six weeks, the other for three months. But the last post advertising a vacancy on the space’s Facebook page appeared more than a year ago, and local rehearsal space operators—\u003ca href=\"https://www.eastbayexpress.com/oakland/rehearsal-studios-booming-business-sends-mixed-message-about-local-music/Content?oid=16716748\">especially in the East Bay\u003c/a>—say monthly studio demand is the highest it’s been since the early 2000s. \u003c/p>\n\u003cp>For example, the waiting list for lockout units at three-story Oakland Music Complex, the largest space in the Bay Area, boasts more than 150 names, according to management. \u003c/p>\n\u003cp>Asked if 30 days is enough time for her tenants to find another practice space, Dubier brought up nearby Lennon Studios, which has 26 monthly rental units. “They’ve got an option six blocks away,” she said. But Jimmy Crucifix, who manages Lennon’s lockout units, told KQED that they have no lockout vacancies. “It’s really hard to find a monthly space—there’s always demand.” he said. “Right now our list is like 40, 50 pages long.”\u003c/p>\n\u003cp>Crucifix added that he’s already gotten three calls from tenants at Moss Street. “They’re desperate,” he said. “What I tell them is we have storage lockers for gear and that we do hourly, too.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dubier said she’s open to selling the business. \u003c/p>\n\n",
"blocks": [],
"excerpt": "The practice space, a fixture of San Francisco’s underground rock scene, opened 35 years ago. ",
"status": "publish",
"parent": 0,
"modified": 1726770991,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 541
},
"headData": {
"title": "Moss Street Rehearsal Studio Tenants Evicted by High-End Realtor | KQED",
"description": "The practice space, a fixture of San Francisco’s underground rock scene, opened 35 years ago. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Moss Street Rehearsal Studio Tenants Evicted by High-End Realtor",
"datePublished": "2018-08-27T12:00:20-07:00",
"dateModified": "2024-09-19T11:36:31-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13839604/moss-street-rehearsal-studio-tenants-evicted-by-luxury-realtor",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tenants of San Francisco practice space Moss Street Rehearsal Studios received 30-day eviction notices Aug. 13, bringing an end to the business after 35 years. \u003c/p>\n\u003cp>The rehearsal space, located at the corner of Moss and Folsom streets, is a turn-of-the-century Victorian subdivided into eight monthly practice units and one residence for an on-site manager. According to its owner, the space was founded in 1983 by musicians, including one who roadied for the Grateful Dead. \u003c/p>\n\u003cp>Jake Rodriguez, a nine-year Moss St. tenant and an experimental artist who performs as \u003ca href=\"https://branpos.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">bran(…)pos\u003c/a>, described it as the best practice space he’s encountered in the Bay Area. He called the eviction and news of the \u003ca href=\"https://www.kqed.org/arts/13839003/hemlock-tavern-to-close-in-early-october\">Hemlock Tavern’s closure\u003c/a> a “1-2 punch by the Bay.” \u003c/p>\n\u003cp>Groups that have rehearsed at Moss St., which local artists describe as a fixture of San Francisco’s underground rock scene in the 2000s, include Thee Oh Sees, Burmese, Sic Alps, Erase Errata, XBXRX, Total Shutdown, and the Flying Luttenbachers. \u003c/p>\n\u003cp>Pam Dubier, a Sotheby’s realtor specializing in overseas investment and “high-end Northern San Francisco neighborhoods,” according to \u003ca href=\"http://dubiergroup.com/about/\">her website\u003c/a>, bought the building and the business in 2007. The 30-day notices, posted to all occupied units, came from Daniel Bornstein, an attorney known for hosting \u003ca href=\"https://www.sfgate.com/bayarea/article/Lawyer-pumps-up-S-F-landlords-at-boot-camp-5008552.php\" rel=\"noopener\" target=\"_blank\">eviction “boot camps”\u003c/a> for landlords.\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>Dubier told KQED she bought the building because, growing up in New Orleans, she developed an appreciation for local music. But she added that there’s less and less demand for rehearsal space in San Francisco. “The musicians with money have their own studios at home now,” she said. “Unfortunately, a lot of local musicians have had to leave the area.”\u003c/p>\n\u003cp>Dubier said she’s struggled to fill two vacant units: one has been empty for six weeks, the other for three months. But the last post advertising a vacancy on the space’s Facebook page appeared more than a year ago, and local rehearsal space operators—\u003ca href=\"https://www.eastbayexpress.com/oakland/rehearsal-studios-booming-business-sends-mixed-message-about-local-music/Content?oid=16716748\">especially in the East Bay\u003c/a>—say monthly studio demand is the highest it’s been since the early 2000s. \u003c/p>\n\u003cp>For example, the waiting list for lockout units at three-story Oakland Music Complex, the largest space in the Bay Area, boasts more than 150 names, according to management. \u003c/p>\n\u003cp>Asked if 30 days is enough time for her tenants to find another practice space, Dubier brought up nearby Lennon Studios, which has 26 monthly rental units. “They’ve got an option six blocks away,” she said. But Jimmy Crucifix, who manages Lennon’s lockout units, told KQED that they have no lockout vacancies. “It’s really hard to find a monthly space—there’s always demand.” he said. “Right now our list is like 40, 50 pages long.”\u003c/p>\n\u003cp>Crucifix added that he’s already gotten three calls from tenants at Moss Street. “They’re desperate,” he said. “What I tell them is we have storage lockers for gear and that we do hourly, too.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dubier said she’s open to selling the business. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13839604/moss-street-rehearsal-studio-tenants-evicted-by-luxury-realtor",
"authors": [
"11091"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_4544",
"arts_21788",
"arts_746",
"arts_596"
],
"featImg": "arts_13839606",
"label": "arts"
},
"arts_13839171": {
"type": "posts",
"id": "arts_13839171",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13839171",
"score": null,
"sort": [
1534463901000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1534463901,
"format": "standard",
"title": "Television Called for Singer-Songwriter Katie Herzig, but Her Heart's in SF",
"headTitle": "Television Called for Singer-Songwriter Katie Herzig, but Her Heart’s in SF | KQED",
"content": "\u003cp>“My new song, ‘Feel Alive,’ is about being in this difficult time and speaking to the hope that it will get better,” says Nashville-based, California-raised singer-songwriter \u003ca href=\"http://www.katieherzig.com/\" target=\"_blank\" rel=\"noopener\">Katie Herzig\u003c/a>. “As I sing the lyrics, it feels like I wrote them for this particular political moment.”\u003c/p>\n\u003cp>Writing songs about relationships, loss and authenticity, Herzig wouldn’t call herself a political artist. Still, she says it’s impossible to separate politics from her music.\u003c/p>\n\u003cfigure id=\"attachment_13839191\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839191\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-800x1200.jpg\" alt=\"Katie Herzig. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katie Herzig. \u003ccite>(Courtsy of Katie Herzig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Whether it’s climate change or standing up for people who are being compartmentalized, I respond to the world as an artist and speak to the issues I care about,” she says.\u003c/p>\n\u003cp>Herzig’s latest album, \u003cem>Moment of Bliss\u003c/em>, came out in March. It had been four years since the musician, whose songs “Holding Us Back” and “Crazy” have appeared in popular television shows like \u003cem>Grey’s Anatomy\u003c/em> and \u003cem>Big Little Lies\u003c/em>, released a new body of work.\u003c/p>\n\u003cp>In the intervening years, Herzig co-produced singer Ingrid Michaelson’s hit song, “Girls Chase Boys,” which was \u003ca href=\"https://www.glaad.org/blog/video-glaad-interviews-ingrid-michaelson-being-ally-through-music\" target=\"_blank\" rel=\"noopener\">hailed as a beacon of pro-LGBTQ pop\u003c/a> when it climbed the Billboard Hot 100 in 2014. She also continued her TV soundtrack work: in 2016, she wrote the song “Morse Code” for the Netflix show \u003cem>Mr. Peabody & Sherman\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Being an artist, my most blissful times are in the creation and production process,” she says. “Having worked on my album for so long, it’s a relief to finally put the new music out there.”\u003c/p>\n\u003cp>Influenced by artists like Coldplay, Bon Iver and Peter Gabriel, \u003cem>Moment of Bliss\u003c/em> layers Herzig’s angelic vocals with piano, guitar and synthesizers; its mellow pop crosses genres, combining an acoustic, folky sound with sleek electronic production. In preparation for her summer tour, Herzig released an EP in June, \u003cem>Delicate\u003c/em>, which features acoustic reinterpretations of some of her most popular songs, including “Lost and Found” and “Wish You Well.”\u003c/p>\n\u003cp>https://youtu.be/-UrEjDktCmg\u003c/p>\n\u003cp>Now touring in support of her two new projects, Herzig performs in San Francisco on Saturday, Aug. 18, at The Independent. She says playing in the Bay Area is particularly significant to her as an LGBTQ musician.\u003c/p>\n\u003cp>“Every time I tour, I return to San Francisco,” she says. “Because of my history touring and playing in San Francisco with artists who’ve been open about their identities, like Brandi Carlile and Missy Higgins, it’s significant to revisit a city that promotes LGBTQ equality because it’s part of my journey now, too.”\u003c/p>\n\u003cp>While her work has long broached queer themes, Herzig came out only recently by going public with her relationship with Australian singer-songwriter Butterfly Boucher.\u003c/p>\n\u003cp>“Over the past year, deciding to publicly announce who I’m with, I’ve learned that I’m doing it at a time when I have less to lose than those who’ve come before me,” she says. “I know that not everybody has that experience.”\u003c/p>\n\u003cp>https://youtu.be/LINKTcBOFgY\u003c/p>\n\u003cp>Since becoming open with her identity, Herzig’s been surprised to learn how speaking out has supported and encouraged her fans. “We underestimate the power of saying our truths, even when it’s complicated and can’t be explained in one sound bite or sentence,” she says.\u003c/p>\n\u003cp>In light of the Trump administration’s \u003ca href=\"https://www.politico.com/story/2018/02/19/trump-lgbt-rights-discrimination-353774\" target=\"_blank\" rel=\"noopener\">rollbacks of many Obama-era protections of LGBTQ rights\u003c/a>, Herzig’s songs, which champion speaking out and taking pride in one’s authentic self, have taken on new meaning. “On tour, we’re performing old songs like ‘Proud’ and ‘Make a Noise,’ and there are times when I have to hold it together because I feel the impact of the lyrics and how they speak to what we’re going through in this country,” she continues. “I can’t recall a time when I’ve been playing shows where I’m saying something that has such relevance collectively. It’s a very powerful thing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Katie Herzig performs at The Independent on Aug. 18. Details \u003ca href=\"https://www.theindependentsf.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 735,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705027361,
"excerpt": "Katie Herzig, whose tunes you may recognize from 'Grey's Anatomy' and 'Big Little Lies,' sees San Francisco as a refuge for LGBTQ artists. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Katie Herzig, whose tunes you may recognize from 'Grey's Anatomy' and 'Big Little Lies,' sees San Francisco as a refuge for LGBTQ artists. ",
"title": "Television Called for Singer-Songwriter Katie Herzig, but Her Heart's in SF | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Television Called for Singer-Songwriter Katie Herzig, but Her Heart's in SF",
"datePublished": "2018-08-16T16:58:21-07:00",
"dateModified": "2024-01-11T18:42:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "television-called-for-singer-songwriter-katie-herzig-but-her-hearts-in-sf",
"status": "publish",
"nprByline": "Juli Fraga",
"sticky": false,
"path": "/arts/13839171/television-called-for-singer-songwriter-katie-herzig-but-her-hearts-in-sf",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“My new song, ‘Feel Alive,’ is about being in this difficult time and speaking to the hope that it will get better,” says Nashville-based, California-raised singer-songwriter \u003ca href=\"http://www.katieherzig.com/\" target=\"_blank\" rel=\"noopener\">Katie Herzig\u003c/a>. “As I sing the lyrics, it feels like I wrote them for this particular political moment.”\u003c/p>\n\u003cp>Writing songs about relationships, loss and authenticity, Herzig wouldn’t call herself a political artist. Still, she says it’s impossible to separate politics from her music.\u003c/p>\n\u003cfigure id=\"attachment_13839191\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839191\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-800x1200.jpg\" alt=\"Katie Herzig. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Live-Tour-Shot-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katie Herzig. \u003ccite>(Courtsy of Katie Herzig)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Whether it’s climate change or standing up for people who are being compartmentalized, I respond to the world as an artist and speak to the issues I care about,” she says.\u003c/p>\n\u003cp>Herzig’s latest album, \u003cem>Moment of Bliss\u003c/em>, came out in March. It had been four years since the musician, whose songs “Holding Us Back” and “Crazy” have appeared in popular television shows like \u003cem>Grey’s Anatomy\u003c/em> and \u003cem>Big Little Lies\u003c/em>, released a new body of work.\u003c/p>\n\u003cp>In the intervening years, Herzig co-produced singer Ingrid Michaelson’s hit song, “Girls Chase Boys,” which was \u003ca href=\"https://www.glaad.org/blog/video-glaad-interviews-ingrid-michaelson-being-ally-through-music\" target=\"_blank\" rel=\"noopener\">hailed as a beacon of pro-LGBTQ pop\u003c/a> when it climbed the Billboard Hot 100 in 2014. She also continued her TV soundtrack work: in 2016, she wrote the song “Morse Code” for the Netflix show \u003cem>Mr. Peabody & Sherman\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>“Being an artist, my most blissful times are in the creation and production process,” she says. “Having worked on my album for so long, it’s a relief to finally put the new music out there.”\u003c/p>\n\u003cp>Influenced by artists like Coldplay, Bon Iver and Peter Gabriel, \u003cem>Moment of Bliss\u003c/em> layers Herzig’s angelic vocals with piano, guitar and synthesizers; its mellow pop crosses genres, combining an acoustic, folky sound with sleek electronic production. In preparation for her summer tour, Herzig released an EP in June, \u003cem>Delicate\u003c/em>, which features acoustic reinterpretations of some of her most popular songs, including “Lost and Found” and “Wish You Well.”\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/-UrEjDktCmg'\n title='//www.youtube.com/embed/-UrEjDktCmg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now touring in support of her two new projects, Herzig performs in San Francisco on Saturday, Aug. 18, at The Independent. She says playing in the Bay Area is particularly significant to her as an LGBTQ musician.\u003c/p>\n\u003cp>“Every time I tour, I return to San Francisco,” she says. “Because of my history touring and playing in San Francisco with artists who’ve been open about their identities, like Brandi Carlile and Missy Higgins, it’s significant to revisit a city that promotes LGBTQ equality because it’s part of my journey now, too.”\u003c/p>\n\u003cp>While her work has long broached queer themes, Herzig came out only recently by going public with her relationship with Australian singer-songwriter Butterfly Boucher.\u003c/p>\n\u003cp>“Over the past year, deciding to publicly announce who I’m with, I’ve learned that I’m doing it at a time when I have less to lose than those who’ve come before me,” she says. “I know that not everybody has that experience.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LINKTcBOFgY'\n title='//www.youtube.com/embed/LINKTcBOFgY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since becoming open with her identity, Herzig’s been surprised to learn how speaking out has supported and encouraged her fans. “We underestimate the power of saying our truths, even when it’s complicated and can’t be explained in one sound bite or sentence,” she says.\u003c/p>\n\u003cp>In light of the Trump administration’s \u003ca href=\"https://www.politico.com/story/2018/02/19/trump-lgbt-rights-discrimination-353774\" target=\"_blank\" rel=\"noopener\">rollbacks of many Obama-era protections of LGBTQ rights\u003c/a>, Herzig’s songs, which champion speaking out and taking pride in one’s authentic self, have taken on new meaning. “On tour, we’re performing old songs like ‘Proud’ and ‘Make a Noise,’ and there are times when I have to hold it together because I feel the impact of the lyrics and how they speak to what we’re going through in this country,” she continues. “I can’t recall a time when I’ve been playing shows where I’m saying something that has such relevance collectively. It’s a very powerful thing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Katie Herzig performs at The Independent on Aug. 18. Details \u003ca href=\"https://www.theindependentsf.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13839171/television-called-for-singer-songwriter-katie-herzig-but-her-hearts-in-sf",
"authors": [
"byline_arts_13839171"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_21788",
"arts_596"
],
"featImg": "arts_13839182",
"label": "arts"
},
"arts_13838966": {
"type": "posts",
"id": "arts_13838966",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13838966",
"score": null,
"sort": [
1534456837000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1534456837,
"format": "image",
"title": "Tired of Club Gigs, John Vanderslice Opts for a Living Room Tour Instead",
"headTitle": "Tired of Club Gigs, John Vanderslice Opts for a Living Room Tour Instead | KQED",
"content": "\u003cp>For a touring musician, the open road can quickly become a drag. One must juggle travel time, performing, shared hotel rooms and an unappetizing array of gas station snacks. The hours between between load-in and showtime require spending time in an unfamiliar watering hole that mostly resembles last night’s watering hole. Musicians are always calculating the thin margin between going for broke and just going broke.\u003c/p>\n\u003cp>It’s a fatiguing cycle that local musician and studio owner John Vanderslice doesn’t miss.\u003c/p>\n\u003cp>“You’re like, ‘Shit, we’re in Norman, Oklahoma on a Monday night, maybe we should flip this other date,'” he says, “And you start playing this chess game, and it’s just too complicated.”\u003c/p>\n\u003cfigure id=\"attachment_13838971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838971\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-800x586.jpg\" alt=\"\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-1200x879.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-1180x864.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-960x703.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-375x275.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-520x381.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde.jpg 1398w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solitary man: John Vanderslice is looking forward to his solo living room tour. \u003ccite>(Autumn de Wilde)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With over one thousand live performances under his belt, it’s no wonder Vanderslice grew weary of life on the road. He wrapped up his last tour in 2013, following the release of his last two albums, \u003ci>Dagger Beach \u003c/i>and \u003ci>Vanderslice Plays Diamond Dogs\u003c/i>, that same year. With his San Francisco analog recording studio, Tiny Telephone, in high demand, it made sense to call it quits on the touring front and channel his energies into nurturing his business, which expanded into Oakland in 2016 and is now angling at a third location in Los Angeles.\u003c/p>\n\u003cp>After some years away from the stage, Vanderslice found himself missing musician life. He began working on his next album (as yet untitled, due out in spring). And he’s ready to venture out on tour again. This time, he’s avoiding the club scene altogether: instead, all of Vanderslice’s upcoming dates will take place in living rooms across the country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The main difference? “When you walk into a bar [for sound check] at 4pm, you’re basically walking into a tomb because there’s no natural light. It smells like stale alcohol, and someone’s playing Thin Lizzy, and you just fry out,” he says. “When you play house shows, you’re in someone’s house. They make cupcakes.”\u003c/p>\n\u003cp>Although house shows are hardly a new concept, one that punk bands, poets and folk troubadours have been utilizing for decades, there aren’t too many artists of Vanderslice’s caliber systematically touring cross-country in nothing but houses. But that trend is beginning to change among veteran indie rock acts, with Clap Your Hands Say Yeah and Tim Kasher of Cursive recently embarking on living room tours on their own.\u003c/p>\n\u003cp>For bands that prefer cozy house show environments over clubs, \u003ca href=\"http://www.undertowmusic.com/\" target=\"_blank\" rel=\"noopener\">Undertow Music\u003c/a>, based in Champaign, Illinois, organizes living room tours for a select roster of artists—an experience Vanderslice has had one other time, in 2013. He embarks on his next tour on Aug. 20, in Chicago and will finish the run on Oct. 3 in New York City—with more dates planned for 2019.\u003c/p>\n\u003cfigure id=\"attachment_13838969\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838969\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-800x544.jpg\" alt=\"\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-960x653.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-520x354.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Vanderslice at Tiny Telephone Oakland. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Best known as the artistic home of indie singer-songwriter David Bazan (a.k.a. Pedro the Lion), Undertow has their living room tour booking process down to a science. All ticketing is done in advance; shows only feature the headliner with no opening acts; hosts must apply and are vetted ahead of time by the Undertow staff. The individual artist—though not in charge of booking the entire tour—is tasked with finding willing hosts, and is his or her own sole representative on the premises come showtime.\u003c/p>\n\u003cp>“You’re kind of taking responsibility for the whole night, and it’s really about communicating with people,” Vanderslice explains. “You end up having to be really, really present, so it doesn’t work if you don’t want to do that.”\u003c/p>\n\u003cp>His favorite part? “Usually living rooms sound really good because they’re diffuse. There’s a lot of books, there’s a couch and there’s people, and they’re not reflective. They can just be the most pleasant acoustic environment.”\u003c/p>\n\u003cfigure id=\"attachment_13838968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838968\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-800x562.jpg\" alt=\"\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-1200x844.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-1920x1350.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-520x366.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Books help make living rooms (and Tiny Telephone Oakland) sound great. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For their role in booking and promotion, Undertow takes 15 percent of the ticket sales (with tickets typically going for $20-$25) and lets the artist keep all of the profits from merch sales, a cut Vanderslice asserts is more than reasonable. Hosts offer their living rooms on a volunteer basis and are compensated with five free tickets for their friends.\u003c/p>\n\u003cp>“We want them to make money,” he points out. “When I had my other booking agent, he would take 10 percent, but he would also take 15 percent of my merch. In Europe, I had two booking agents and one here, so there would go 25 percent, right off the top, and then 15 percent of my merch. At that point, you’re just touring to even stay afloat.”\u003c/p>\n\u003cp>Closer to his Bay Area home, Vanderslice has also performed multiple times on local promoter \u003ca href=\"http://kcturnerpresents.com/\" target=\"_blank\" rel=\"noopener\">KC Turner’s house concert\u003c/a> series, which Turner has been running since 2007. Unlike Undertow, Turner is always on hand, in person, to set up and break down all of the necessary seating and sound equipment for the evening. These concerts have built an enthusiastic following over the years, not least of all from the musicians themselves, many of whom are repeat participants.\u003c/p>\n\u003cp>As his roster of artists continues to grow, Turner has also expanded into listening rooms and clubs across the Bay Area. And though Vanderslice has performed at some of these larger venues, such as HopMonk Tavern in Novato, he couldn’t be more excited to scale back down again for his upcoming living room tour.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I would definitely not go back to touring the way I was, with a band in a van and a trailer,” he says. “I just knew when I booked my house tour that this is the only way I want to do it.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1048,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705027364,
"excerpt": "The veteran San Francisco indie rocker returns to the road under one condition: house shows only. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The veteran San Francisco indie rocker returns to the road under one condition: house shows only. ",
"title": "Tired of Club Gigs, John Vanderslice Opts for a Living Room Tour Instead | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Tired of Club Gigs, John Vanderslice Opts for a Living Room Tour Instead",
"datePublished": "2018-08-16T15:00:37-07:00",
"dateModified": "2024-01-11T18:42:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "tired-of-club-gigs-john-vanderslice-opts-for-a-living-room-tour-instead",
"status": "publish",
"sticky": false,
"path": "/arts/13838966/tired-of-club-gigs-john-vanderslice-opts-for-a-living-room-tour-instead",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a touring musician, the open road can quickly become a drag. One must juggle travel time, performing, shared hotel rooms and an unappetizing array of gas station snacks. The hours between between load-in and showtime require spending time in an unfamiliar watering hole that mostly resembles last night’s watering hole. Musicians are always calculating the thin margin between going for broke and just going broke.\u003c/p>\n\u003cp>It’s a fatiguing cycle that local musician and studio owner John Vanderslice doesn’t miss.\u003c/p>\n\u003cp>“You’re like, ‘Shit, we’re in Norman, Oklahoma on a Monday night, maybe we should flip this other date,'” he says, “And you start playing this chess game, and it’s just too complicated.”\u003c/p>\n\u003cfigure id=\"attachment_13838971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838971\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-800x586.jpg\" alt=\"\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-1200x879.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-1180x864.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-960x703.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-375x275.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde-520x381.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/vanderslice1_credit_autumn_dewilde.jpg 1398w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solitary man: John Vanderslice is looking forward to his solo living room tour. \u003ccite>(Autumn de Wilde)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With over one thousand live performances under his belt, it’s no wonder Vanderslice grew weary of life on the road. He wrapped up his last tour in 2013, following the release of his last two albums, \u003ci>Dagger Beach \u003c/i>and \u003ci>Vanderslice Plays Diamond Dogs\u003c/i>, that same year. With his San Francisco analog recording studio, Tiny Telephone, in high demand, it made sense to call it quits on the touring front and channel his energies into nurturing his business, which expanded into Oakland in 2016 and is now angling at a third location in Los Angeles.\u003c/p>\n\u003cp>After some years away from the stage, Vanderslice found himself missing musician life. He began working on his next album (as yet untitled, due out in spring). And he’s ready to venture out on tour again. This time, he’s avoiding the club scene altogether: instead, all of Vanderslice’s upcoming dates will take place in living rooms across the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The main difference? “When you walk into a bar [for sound check] at 4pm, you’re basically walking into a tomb because there’s no natural light. It smells like stale alcohol, and someone’s playing Thin Lizzy, and you just fry out,” he says. “When you play house shows, you’re in someone’s house. They make cupcakes.”\u003c/p>\n\u003cp>Although house shows are hardly a new concept, one that punk bands, poets and folk troubadours have been utilizing for decades, there aren’t too many artists of Vanderslice’s caliber systematically touring cross-country in nothing but houses. But that trend is beginning to change among veteran indie rock acts, with Clap Your Hands Say Yeah and Tim Kasher of Cursive recently embarking on living room tours on their own.\u003c/p>\n\u003cp>For bands that prefer cozy house show environments over clubs, \u003ca href=\"http://www.undertowmusic.com/\" target=\"_blank\" rel=\"noopener\">Undertow Music\u003c/a>, based in Champaign, Illinois, organizes living room tours for a select roster of artists—an experience Vanderslice has had one other time, in 2013. He embarks on his next tour on Aug. 20, in Chicago and will finish the run on Oct. 3 in New York City—with more dates planned for 2019.\u003c/p>\n\u003cfigure id=\"attachment_13838969\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838969\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-800x544.jpg\" alt=\"\" width=\"800\" height=\"544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-960x653.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1-520x354.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_organ1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Vanderslice at Tiny Telephone Oakland. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Best known as the artistic home of indie singer-songwriter David Bazan (a.k.a. Pedro the Lion), Undertow has their living room tour booking process down to a science. All ticketing is done in advance; shows only feature the headliner with no opening acts; hosts must apply and are vetted ahead of time by the Undertow staff. The individual artist—though not in charge of booking the entire tour—is tasked with finding willing hosts, and is his or her own sole representative on the premises come showtime.\u003c/p>\n\u003cp>“You’re kind of taking responsibility for the whole night, and it’s really about communicating with people,” Vanderslice explains. “You end up having to be really, really present, so it doesn’t work if you don’t want to do that.”\u003c/p>\n\u003cp>His favorite part? “Usually living rooms sound really good because they’re diffuse. There’s a lot of books, there’s a couch and there’s people, and they’re not reflective. They can just be the most pleasant acoustic environment.”\u003c/p>\n\u003cfigure id=\"attachment_13838968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838968\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-800x562.jpg\" alt=\"\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-1200x844.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-1920x1350.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-960x675.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped-520x366.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_jv_books_cropped.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Books help make living rooms (and Tiny Telephone Oakland) sound great. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For their role in booking and promotion, Undertow takes 15 percent of the ticket sales (with tickets typically going for $20-$25) and lets the artist keep all of the profits from merch sales, a cut Vanderslice asserts is more than reasonable. Hosts offer their living rooms on a volunteer basis and are compensated with five free tickets for their friends.\u003c/p>\n\u003cp>“We want them to make money,” he points out. “When I had my other booking agent, he would take 10 percent, but he would also take 15 percent of my merch. In Europe, I had two booking agents and one here, so there would go 25 percent, right off the top, and then 15 percent of my merch. At that point, you’re just touring to even stay afloat.”\u003c/p>\n\u003cp>Closer to his Bay Area home, Vanderslice has also performed multiple times on local promoter \u003ca href=\"http://kcturnerpresents.com/\" target=\"_blank\" rel=\"noopener\">KC Turner’s house concert\u003c/a> series, which Turner has been running since 2007. Unlike Undertow, Turner is always on hand, in person, to set up and break down all of the necessary seating and sound equipment for the evening. These concerts have built an enthusiastic following over the years, not least of all from the musicians themselves, many of whom are repeat participants.\u003c/p>\n\u003cp>As his roster of artists continues to grow, Turner has also expanded into listening rooms and clubs across the Bay Area. And though Vanderslice has performed at some of these larger venues, such as HopMonk Tavern in Novato, he couldn’t be more excited to scale back down again for his upcoming living room tour.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I would definitely not go back to touring the way I was, with a band in a van and a trailer,” he says. “I just knew when I booked my house tour that this is the only way I want to do it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13838966/tired-of-club-gigs-john-vanderslice-opts-for-a-living-room-tour-instead",
"authors": [
"11497"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_21788",
"arts_596"
],
"featImg": "arts_13839167",
"label": "arts"
},
"arts_13834539": {
"type": "posts",
"id": "arts_13834539",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13834539",
"score": null,
"sort": [
1528412915000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1528412915,
"format": "standard",
"title": "Shannon Shaw Ascends from the Warehouse to Rock 'n' Roll Greatness",
"headTitle": "Shannon Shaw Ascends from the Warehouse to Rock ‘n’ Roll Greatness | KQED",
"content": "\u003cp>Shannon Shaw traces her love of oldies back to when her dad gave her a cassette of Roy Orbison’s greatest hits when she was eight years old.\u003c/p>\n\u003cp>“We’d listened to it my whole life, in his truck and stuff. But then it became mine,” she recalls, articulating “mine” as if savoring it on her tongue.\u003c/p>\n\u003cp>Raised in Napa County, Shaw remembers sitting in her room, listening to Orbison’s melancholy croon over and over, so regularly that she memorized the exact time it took to rewind back to her favorite songs. She didn’t care for Orbison’s upbeat tunes; instead, she’d act out the lyrics of his lovelorn stuff, like “Crying,” or “Leah,” about a man who drowns while diving for pearls to make a necklace for his love.\u003c/p>\n\u003cp>“That was definitely so melodramatic and had so much emotion,” says Shaw. “And I was such a dramatic kid.”\u003c/p>\n\u003cp>That fixation on tragic love is a hallmark of Shaw’s songwriting for prolific rock ‘n’ roll revivalists Shannon and the Clams, an East Bay mainstay that rose from Oakland’s gritty warehouse scene over the past decade. And now, Shaw’s ability to evoke emotion with her raw, raspy voice is keener than ever on her debut solo album, \u003cem>Shannon in Nashville\u003c/em>, out June 8 on \u003ca href=\"http://www.easyeyesound.com\" target=\"_blank\" rel=\"noopener\">Easy Eye Sound\u003c/a>, the record label owned by Dan Auerbach of the Black Keys.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/cixEFBfYSOQ\u003c/p>\n\u003cp>\u003cem>Shannon in Nashville\u003c/em> gets its name from Dusty Springfield’s \u003cem>Dusty in Memphis\u003c/em>, and it’s steeped in vintage rock ‘n’ roll, blues, soul and pop from the ’50s and ’60s. That time-travel effect is due in large part to the album’s session players, which include drummer Gene Chrisman and keyboardist-percussionist Bobby Wood of the Memphis Boys. (The Memphis Boys were the original house band of the historic American Sound Studio, which hosted recording sessions by many of the era’s stars, like Elvis Presley, Neil Diamond, Orbison and Springfield herself.)\u003c/p>\n\u003cp>Auerbach, who plays guitar on \u003cem>Shannon in Nashville\u003c/em>, orchestrated the ambitious collaboration. After discovering the Clams’ album at a record store, he met Shaw at her show at the Fillmore and invited her to Nashville, Easy Eye Sound’s home base, to record her solo debut. Shaw, who had only recently ascended from playing underground warehouse gigs to headlining clubs and appearing at festivals (Shannon and the Clams are set to perform at \u003ca href=\"https://www.kqed.org/arts/13828518/outside-lands-lineup-announced-janet-jackson-the-weeknd-headline\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> in August), was intimidated by the prospect of the pop-star treatment. The label put her up in Nashville and immediately immersed her in songwriting sessions on a level of professionalism and intricacy removed from her D.I.Y. sessions with the Clams.\u003c/p>\n\u003cp>“I didn’t really know everything that goes into creating the whole vibe and buildup. I come from this weird basement scene where people are teaching themselves to play and to record,” she says. “Whereas Dan totally knows; one of his best skills is to be able to hear all the things going on and knowing when something’s missing, and what thing could elevate another thing. It was impressive to watch these demos I brought in be spun into gold.”\u003c/p>\n\u003cp>The stint in Nashville was a confidence-building exercise for Shaw. Never did she dream—as en eight-year-old listening to Orbison’s greatest hits, or as a 24-year-old learning to play bass—that she would one day be in the studio with some of Orbison’s original players. Although she says she sometimes questioned herself as the only woman and youngest person in the sessions, she committed to playing the part of a confident musician—and eventually internalized the idea that she deserved to be there. (Poking fun at this experience, in the video for the album’s lead single, “Cryin’ My Eyes Out,” Shaw gets into drag and plays every member of her band, including the engineer.)\u003c/p>\n\u003cp>https://youtu.be/fvSql0WV3WI\u003c/p>\n\u003cp>“I had this internal dialogue—obsessive dialogue—to keep my head in the game trying to remind myself to be present and take advantage of the opportunity, and remind myself to be excited and stoked,” she says. “It was weird, like I had not had this much internal conflict and dealing with low self-esteem in so long.”\u003c/p>\n\u003cp>Those traces of self-doubt aren’t audible on \u003cem>Shannon in Nashville\u003c/em>, where Shaw bares herself in emotionally affecting vocal arrangements set to sprightly, retro pop instrumentation—a potent combination that sounds like the soundtrack to shedding a tear on the dance floor. On “Cryin’ My Eyes Out,” a song inspired by her parents’ fraught relationship when she was young, bouncy drums and warbly surf guitar bolster Shaw’s passionate wail of frustration about whether the family dynamic will ever change. On “Cold Pillows,” about the fortitude it takes to walk away from a doomed relationship, a slow, cinematic buildup of doo-wop backing vocals gives way to Shaw’s stinging, cathartic hook.\u003c/p>\n\u003cp>Throughout the album, Shaw demonstrates self-awareness and emotional depth, examining not only heartbreak, but the experience of breaking someone else’s heart and taking accountability for the aftermath. Her sorrowful timbre, learned from all those repeated listens of Roy Orbison years ago, is piercing and stirring, cutting to the heart of her subject matter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though Shaw borrows from decades past, \u003cem>Shannon in Nashville\u003c/em> is anything but stale and makes a strong case for rock ‘n’ roll’s enduring appeal.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 978,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705027679,
"excerpt": "On her solo debut 'Shannon in Nashville,' the Shannon and the Clams bandleader recruits the session musicians of Roy Orbison, Dusty Springfield and Elvis Presley. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "On her solo debut 'Shannon in Nashville,' the Shannon and the Clams bandleader recruits the session musicians of Roy Orbison, Dusty Springfield and Elvis Presley. ",
"title": "Shannon Shaw Ascends from the Warehouse to Rock 'n' Roll Greatness | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Shannon Shaw Ascends from the Warehouse to Rock 'n' Roll Greatness",
"datePublished": "2018-06-07T16:08:35-07:00",
"dateModified": "2024-01-11T18:47:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "shannon-shaw-ascends-from-the-warehouse-to-rock-n-roll-greatness",
"status": "publish",
"sticky": false,
"path": "/arts/13834539/shannon-shaw-ascends-from-the-warehouse-to-rock-n-roll-greatness",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shannon Shaw traces her love of oldies back to when her dad gave her a cassette of Roy Orbison’s greatest hits when she was eight years old.\u003c/p>\n\u003cp>“We’d listened to it my whole life, in his truck and stuff. But then it became mine,” she recalls, articulating “mine” as if savoring it on her tongue.\u003c/p>\n\u003cp>Raised in Napa County, Shaw remembers sitting in her room, listening to Orbison’s melancholy croon over and over, so regularly that she memorized the exact time it took to rewind back to her favorite songs. She didn’t care for Orbison’s upbeat tunes; instead, she’d act out the lyrics of his lovelorn stuff, like “Crying,” or “Leah,” about a man who drowns while diving for pearls to make a necklace for his love.\u003c/p>\n\u003cp>“That was definitely so melodramatic and had so much emotion,” says Shaw. “And I was such a dramatic kid.”\u003c/p>\n\u003cp>That fixation on tragic love is a hallmark of Shaw’s songwriting for prolific rock ‘n’ roll revivalists Shannon and the Clams, an East Bay mainstay that rose from Oakland’s gritty warehouse scene over the past decade. And now, Shaw’s ability to evoke emotion with her raw, raspy voice is keener than ever on her debut solo album, \u003cem>Shannon in Nashville\u003c/em>, out June 8 on \u003ca href=\"http://www.easyeyesound.com\" target=\"_blank\" rel=\"noopener\">Easy Eye Sound\u003c/a>, the record label owned by Dan Auerbach of the Black Keys.\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/cixEFBfYSOQ'\n title='//www.youtube.com/embed/cixEFBfYSOQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Shannon in Nashville\u003c/em> gets its name from Dusty Springfield’s \u003cem>Dusty in Memphis\u003c/em>, and it’s steeped in vintage rock ‘n’ roll, blues, soul and pop from the ’50s and ’60s. That time-travel effect is due in large part to the album’s session players, which include drummer Gene Chrisman and keyboardist-percussionist Bobby Wood of the Memphis Boys. (The Memphis Boys were the original house band of the historic American Sound Studio, which hosted recording sessions by many of the era’s stars, like Elvis Presley, Neil Diamond, Orbison and Springfield herself.)\u003c/p>\n\u003cp>Auerbach, who plays guitar on \u003cem>Shannon in Nashville\u003c/em>, orchestrated the ambitious collaboration. After discovering the Clams’ album at a record store, he met Shaw at her show at the Fillmore and invited her to Nashville, Easy Eye Sound’s home base, to record her solo debut. Shaw, who had only recently ascended from playing underground warehouse gigs to headlining clubs and appearing at festivals (Shannon and the Clams are set to perform at \u003ca href=\"https://www.kqed.org/arts/13828518/outside-lands-lineup-announced-janet-jackson-the-weeknd-headline\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> in August), was intimidated by the prospect of the pop-star treatment. The label put her up in Nashville and immediately immersed her in songwriting sessions on a level of professionalism and intricacy removed from her D.I.Y. sessions with the Clams.\u003c/p>\n\u003cp>“I didn’t really know everything that goes into creating the whole vibe and buildup. I come from this weird basement scene where people are teaching themselves to play and to record,” she says. “Whereas Dan totally knows; one of his best skills is to be able to hear all the things going on and knowing when something’s missing, and what thing could elevate another thing. It was impressive to watch these demos I brought in be spun into gold.”\u003c/p>\n\u003cp>The stint in Nashville was a confidence-building exercise for Shaw. Never did she dream—as en eight-year-old listening to Orbison’s greatest hits, or as a 24-year-old learning to play bass—that she would one day be in the studio with some of Orbison’s original players. Although she says she sometimes questioned herself as the only woman and youngest person in the sessions, she committed to playing the part of a confident musician—and eventually internalized the idea that she deserved to be there. (Poking fun at this experience, in the video for the album’s lead single, “Cryin’ My Eyes Out,” Shaw gets into drag and plays every member of her band, including the engineer.)\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/fvSql0WV3WI'\n title='//www.youtube.com/embed/fvSql0WV3WI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I had this internal dialogue—obsessive dialogue—to keep my head in the game trying to remind myself to be present and take advantage of the opportunity, and remind myself to be excited and stoked,” she says. “It was weird, like I had not had this much internal conflict and dealing with low self-esteem in so long.”\u003c/p>\n\u003cp>Those traces of self-doubt aren’t audible on \u003cem>Shannon in Nashville\u003c/em>, where Shaw bares herself in emotionally affecting vocal arrangements set to sprightly, retro pop instrumentation—a potent combination that sounds like the soundtrack to shedding a tear on the dance floor. On “Cryin’ My Eyes Out,” a song inspired by her parents’ fraught relationship when she was young, bouncy drums and warbly surf guitar bolster Shaw’s passionate wail of frustration about whether the family dynamic will ever change. On “Cold Pillows,” about the fortitude it takes to walk away from a doomed relationship, a slow, cinematic buildup of doo-wop backing vocals gives way to Shaw’s stinging, cathartic hook.\u003c/p>\n\u003cp>Throughout the album, Shaw demonstrates self-awareness and emotional depth, examining not only heartbreak, but the experience of breaking someone else’s heart and taking accountability for the aftermath. Her sorrowful timbre, learned from all those repeated listens of Roy Orbison years ago, is piercing and stirring, cutting to the heart of her subject matter.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Though Shaw borrows from decades past, \u003cem>Shannon in Nashville\u003c/em> is anything but stale and makes a strong case for rock ‘n’ roll’s enduring appeal.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13834539/shannon-shaw-ascends-from-the-warehouse-to-rock-n-roll-greatness",
"authors": [
"11387"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_21788",
"arts_596",
"arts_3823"
],
"featImg": "arts_13834612",
"label": "arts"
},
"arts_13833347": {
"type": "posts",
"id": "arts_13833347",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13833347",
"score": null,
"sort": [
1527133178000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1527133178,
"format": "image",
"title": "On the Air: Gabe & Jamedra's Do List Picks for May 25, 2018",
"headTitle": "On the Air: Gabe & Jamedra’s Do List Picks for May 25, 2018 | KQED",
"content": "\u003cp>This week, I’m joined on The Do List by Jamedra Brown-Fleischman, co-host of KQED’s pop culture podcast \u003cem>The Cooler\u003c/em>. We’re talking about Nazis influencing famous painters, the challenge in satirizing American politics, and a wild plot to catch a serial killer.\u003c/p>\n\u003cp>\u003cstrong>Through Oct. 28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833315/sfmoma-shows-the-vache-side-of-magritte\" target=\"_blank\" rel=\"noopener\">\u003cem>René Magritte: The Fifth Season\u003c/em> includes the artist’s intentionally “bad” paintings at SFMOMA\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 24-27\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833330/a-bizarre-plot-to-catch-the-real-life-zodiac-killer\" target=\"_blank\" rel=\"noopener\">\u003cem>Please help me I’m drownding\u003c/em>: San Francisco’s dark decade comes to life in a film series at the Yerba Buena Center for the Arts\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 30\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833337/who-needs-vjs-with-the-outoffocus-video-music-fest\" target=\"_blank\" rel=\"noopener\">The fourth annual OutOfFocus Music Video Film Fest at the New Parkway in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 31-June 1\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833343/sheer-mag-the-best-arena-rock-band-on-the-diy-circuit\" target=\"_blank\" rel=\"noopener\">Sheer Mag rocks the Ritz in San Jose and the Great American Music Hall in San Francisco\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>June 1-3\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833278/a-hotly-anticipated-return-for-jon-stewart\" target=\"_blank\" rel=\"noopener\">Clusterfest in San Francisco’s Civic Center brings top stars in comedy, music, podcasting, drag and more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 1-10\u003c/strong>: \u003ca href=\"http://www.healdsburgjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">The Healdsburg Jazz Festival hosts big names at small venues\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 9\u003c/strong>: \u003ca href=\"http://thefoxoakland.com/events/the-read\" target=\"_blank\" rel=\"noopener\">\u003ci>The Read Live!\u003c/i> with Kid Fury and Crissle at Oakland’s Fox Theater\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 16\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833271/flying-lotus-and-little-dragon-will-trip-out-in-berkeley\" target=\"_blank\" rel=\"noopener\">Flying Lotus returns to the Greek Theater in Berkeley\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 204,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705027778,
"excerpt": "On this week's Do List, we're talking about René Magritte, Jon Stewart, Sheer Mag, the Zodiac Killer and more.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "On this week's Do List, we're talking about René Magritte, Jon Stewart, Sheer Mag, the Zodiac Killer and more.",
"title": "On the Air: Gabe & Jamedra's Do List Picks for May 25, 2018 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "On the Air: Gabe & Jamedra's Do List Picks for May 25, 2018",
"datePublished": "2018-05-23T20:39:38-07:00",
"dateModified": "2024-01-11T18:49:38-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "on-the-air-gabe-jamedras-do-list-picks-for-may-25-2018",
"status": "publish",
"sticky": false,
"path": "/arts/13833347/on-the-air-gabe-jamedras-do-list-picks-for-may-25-2018",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/thedolist/2018/05/TDL20180525.mp3",
"audioDuration": 544000,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, I’m joined on The Do List by Jamedra Brown-Fleischman, co-host of KQED’s pop culture podcast \u003cem>The Cooler\u003c/em>. We’re talking about Nazis influencing famous painters, the challenge in satirizing American politics, and a wild plot to catch a serial killer.\u003c/p>\n\u003cp>\u003cstrong>Through Oct. 28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833315/sfmoma-shows-the-vache-side-of-magritte\" target=\"_blank\" rel=\"noopener\">\u003cem>René Magritte: The Fifth Season\u003c/em> includes the artist’s intentionally “bad” paintings at SFMOMA\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 24-27\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833330/a-bizarre-plot-to-catch-the-real-life-zodiac-killer\" target=\"_blank\" rel=\"noopener\">\u003cem>Please help me I’m drownding\u003c/em>: San Francisco’s dark decade comes to life in a film series at the Yerba Buena Center for the Arts\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 30\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833337/who-needs-vjs-with-the-outoffocus-video-music-fest\" target=\"_blank\" rel=\"noopener\">The fourth annual OutOfFocus Music Video Film Fest at the New Parkway in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>May 31-June 1\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833343/sheer-mag-the-best-arena-rock-band-on-the-diy-circuit\" target=\"_blank\" rel=\"noopener\">Sheer Mag rocks the Ritz in San Jose and the Great American Music Hall in San Francisco\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 1-3\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833278/a-hotly-anticipated-return-for-jon-stewart\" target=\"_blank\" rel=\"noopener\">Clusterfest in San Francisco’s Civic Center brings top stars in comedy, music, podcasting, drag and more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 1-10\u003c/strong>: \u003ca href=\"http://www.healdsburgjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">The Healdsburg Jazz Festival hosts big names at small venues\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 9\u003c/strong>: \u003ca href=\"http://thefoxoakland.com/events/the-read\" target=\"_blank\" rel=\"noopener\">\u003ci>The Read Live!\u003c/i> with Kid Fury and Crissle at Oakland’s Fox Theater\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 16\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833271/flying-lotus-and-little-dragon-will-trip-out-in-berkeley\" target=\"_blank\" rel=\"noopener\">Flying Lotus returns to the Greek Theater in Berkeley\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13833347/on-the-air-gabe-jamedras-do-list-picks-for-may-25-2018",
"authors": [
"11510"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1"
],
"tags": [
"arts_1867",
"arts_549",
"arts_1501",
"arts_1118",
"arts_21788",
"arts_596",
"arts_1381",
"arts_626",
"arts_699",
"arts_901",
"arts_1040"
],
"featImg": "arts_13833405",
"label": "arts_140"
},
"arts_13833343": {
"type": "posts",
"id": "arts_13833343",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13833343",
"score": null,
"sort": [
1527126044000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1527126044,
"format": "standard",
"title": "Sheer Mag, the Best Arena-Rock Band on the DIY Circuit",
"headTitle": "Sheer Mag, the Best Arena-Rock Band on the DIY Circuit | KQED",
"content": "\u003cp>The Philadelphia band Sheer Mag channel the classic rock of the ’70s with the mustaches to prove it—and their live shows are out of this world. When I \u003ca href=\"https://www.kqed.org/arts/11525017/live-review-fresh-from-coachella-sheer-mag-proves-theyre-diy-as-ever\" rel=\"noopener\" target=\"_blank\">saw them a few years ago in the lobby of a tattoo shop\u003c/a>, both guys and girls danced topless in the front row.\u003c/p>\n\u003cp>One thing about Sheer Mag is that despite sounding like 1976 Cleveland arena rock, they’re staunchly punk in spirit; they refuse to sign a record deal, they book their own tours, they put out their own records—and I like to think it’s paid off by preserving a lot of the fun that makes them special.\u003c/p>\n\u003cp>\u003cem>Sheer Mag play Thursday, May 31, at the Great American Music Hall in San Francisco, and Friday, June 1, at the Ritz in San Jose. \u003ca href=\"https://www.songkick.com/artists/8333673-sheer-mag\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 144,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 5
},
"modified": 1705027786,
"excerpt": null,
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Philadelphia band Sheer Mag channel the classic rock of the ’70s with the mustaches to prove it—and their live shows are out of this world. When I saw them a few years ago in the lobby of a tattoo shop, both guys and girls danced topless in the front row. One thing about Sheer",
"title": "Sheer Mag, the Best Arena-Rock Band on the DIY Circuit | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sheer Mag, the Best Arena-Rock Band on the DIY Circuit",
"datePublished": "2018-05-23T18:40:44-07:00",
"dateModified": "2024-01-11T18:49:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "sheer-mag-the-best-arena-rock-band-on-the-diy-circuit",
"status": "publish",
"sticky": false,
"path": "/arts/13833343/sheer-mag-the-best-arena-rock-band-on-the-diy-circuit",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Philadelphia band Sheer Mag channel the classic rock of the ’70s with the mustaches to prove it—and their live shows are out of this world. When I \u003ca href=\"https://www.kqed.org/arts/11525017/live-review-fresh-from-coachella-sheer-mag-proves-theyre-diy-as-ever\" rel=\"noopener\" target=\"_blank\">saw them a few years ago in the lobby of a tattoo shop\u003c/a>, both guys and girls danced topless in the front row.\u003c/p>\n\u003cp>One thing about Sheer Mag is that despite sounding like 1976 Cleveland arena rock, they’re staunchly punk in spirit; they refuse to sign a record deal, they book their own tours, they put out their own records—and I like to think it’s paid off by preserving a lot of the fun that makes them special.\u003c/p>\n\u003cp>\u003cem>Sheer Mag play Thursday, May 31, at the Great American Music Hall in San Francisco, and Friday, June 1, at the Ritz in San Jose. \u003ca href=\"https://www.songkick.com/artists/8333673-sheer-mag\" rel=\"noopener\" target=\"_blank\">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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13833343/sheer-mag-the-best-arena-rock-band-on-the-diy-circuit",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69"
],
"tags": [
"arts_21788",
"arts_596",
"arts_1146",
"arts_1084",
"arts_2102"
],
"featImg": "arts_13833345",
"label": "arts_140"
},
"arts_13831729": {
"type": "posts",
"id": "arts_13831729",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13831729",
"score": null,
"sort": [
1525890907000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1525890907,
"format": "standard",
"title": "How A Synesthetic Artist Sees Sounds And Turns Music Into Paintings",
"headTitle": "How A Synesthetic Artist Sees Sounds And Turns Music Into Paintings | KQED",
"content": "\u003cp>\u003cem>Artist Christina Eve has synesthesia, a rare neurological condition that entwines the senses. In Christina Eve’s case, she sees sounds. Last year she sent me a handful of her colorful paintings she made based on music she heard and the visions she had when she listened. I was so fascinated by the way she interprets songs with imagery that I asked her to document the process. You can watch her paint the music of Moses Sumney and Bleachers in the videos below and read her describe what her brain is like on music. – \u003c/em>All Songs Considered\u003cem>‘s \u003c/em>\u003cem>Bob Boilen\u003c/em>\u003c/p>\n\u003cp>I’d never be a visual artist if I was not first a musician. I have a deep love of music and especially love how a good song can arrest your heart or communicate things for which there are no words. I began studying music as a child and went on to get a degree in classical music. I geek-out over music theory and love the thrill of performing on stage with other musicians. Yet beyond all this, I experience another dimension of music that most do not.\u003c/p>\n\u003cp>I have synesthesia, a neurological phenomenon that involuntarily merges senses in the brain. Auditory stimuli activate my visual sense, so whenever I hear sound I see a unique light and color show. Listening to music is always a remarkable experience as the ears, eyes, heart, and mind are all inundated. For me, music reveals shimmering lights and geometric textures in bright colors, and light and dark swell and spin around each other.\u003c/p>\n\u003cp>As a synesthetic visual artist, I translate what I hear into visible form so others can see the beauty of sound. My artwork begins with a song I’ve fallen in love with, emotionally, aurally, and visually. In the studio, I put the song on loop and listen and watch to see what shapes and colors appear. I pull out corresponding bottles of ink and begin spilling them on the canvas. I blow air into the color, creating a contrasting lightness to the dark, and form the ink into shapes with palette knives and sponges.\u003c/p>\n\u003cp>https://vimeo.com/245458363\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In my work for Bleachers’ “Don’t Take The Money,” I focus on the many sounds contained in the pre-chorus. Each main vocal phrase (“In my dreams, I’m to blame / Different sides of the bed / Roll your eyes, shave my head”) produces rapidly-ascending towers of hot pink and lime-green. The bass, plus the interspersed, digitized backing vocals in lower octaves, provide a dark and bubbly foundation. The percussion and all the fun sounds moving in and out add-in flashes of different hues and textures. I collect all these colors and shape them into what I see in the buildup and hit just before chorus: a staircase-shaped, sunshine-colored explosion.\u003c/p>\n\u003cp>https://vimeo.com/245458956\u003c/p>\n\u003cp>The very first chord of Moses Sumney’s “Doomed” is an oceanic, dark blue paired with a rich vermilion. Moses’ voice is interesting to watch – sometimes it’s a saturated charcoal-black, sometimes it’s a smooth aqua – and that captivating, quick, occasional catch in his voice that sounds like an alto sax… it’s a moment of sandpaper-textured gold. Warm light enters the scene the first time Moses sings “Am I doomed?” As the song progresses, I’m emotionally affected by the sonic expansion and the emotional heaviness of the lyrics, and I incorporate it into the work. The soaring, far-away vocal cries in the background are a writhing purple. At the apex of the song, light pushes back the dark colors, and recedes again as the song draws back into itself.\u003c/p>\n\u003cp>As I’ve continued to create synesthetic artwork, I’ve discovered that much of the aurally-stimulated imagery I see can also effectively communicate other invisible concepts, like joy or despair or loneliness or hope. There are some sounds that produce a distinct type of deep and powerfully evocative imagery and these rich visuals are able to depict difficult ideas and emotions that might be too elusive to paint, or even verbally express. Music is what allows me to create synesthetic artwork, offering a visual voice to the hidden, complex, and inexpressible experiences of humanity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More from Christina Eve can be found \u003ca href=\"https://christinaeveartist.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+A+Synesthetic+Artist+Sees+Sounds+And+Turns+Music+Into+Paintings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 757,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705027915,
"excerpt": "Artist Christina Eve paints music. A rare neurological condition known as synesthesia has entwined her senses, so she sees a kaleidoscope of dancing colors whenever she listens to music.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Artist Christina Eve paints music. A rare neurological condition known as synesthesia has entwined her senses, so she sees a kaleidoscope of dancing colors whenever she listens to music.",
"title": "How A Synesthetic Artist Sees Sounds And Turns Music Into Paintings | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "How A Synesthetic Artist Sees Sounds And Turns Music Into Paintings",
"datePublished": "2018-05-09T11:35:07-07:00",
"dateModified": "2024-01-11T18:51:55-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "how-a-synesthetic-artist-sees-sounds-and-turns-music-into-paintings",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=586386659&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Christina Eve",
"nprStoryDate": "Wed, 09 May 2018 07:00:00 -0400",
"nprLastModifiedDate": "Wed, 09 May 2018 07:17:53 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/allsongs/2018/05/09/586386659/how-a-synesthetic-artist-sees-sounds-and-turns-music-into-paintings?ft=nprml&f=586386659",
"nprImageAgency": "Courtesy of the Artist",
"nprImageCredit": "Colorist Creative - Garrett Callahan and Sean Sida",
"nprStoryId": "586386659",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 09 May 2018 07:17:00 -0400",
"path": "/arts/13831729/how-a-synesthetic-artist-sees-sounds-and-turns-music-into-paintings",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Artist Christina Eve has synesthesia, a rare neurological condition that entwines the senses. In Christina Eve’s case, she sees sounds. Last year she sent me a handful of her colorful paintings she made based on music she heard and the visions she had when she listened. I was so fascinated by the way she interprets songs with imagery that I asked her to document the process. You can watch her paint the music of Moses Sumney and Bleachers in the videos below and read her describe what her brain is like on music. – \u003c/em>All Songs Considered\u003cem>‘s \u003c/em>\u003cem>Bob Boilen\u003c/em>\u003c/p>\n\u003cp>I’d never be a visual artist if I was not first a musician. I have a deep love of music and especially love how a good song can arrest your heart or communicate things for which there are no words. I began studying music as a child and went on to get a degree in classical music. I geek-out over music theory and love the thrill of performing on stage with other musicians. Yet beyond all this, I experience another dimension of music that most do not.\u003c/p>\n\u003cp>I have synesthesia, a neurological phenomenon that involuntarily merges senses in the brain. Auditory stimuli activate my visual sense, so whenever I hear sound I see a unique light and color show. Listening to music is always a remarkable experience as the ears, eyes, heart, and mind are all inundated. For me, music reveals shimmering lights and geometric textures in bright colors, and light and dark swell and spin around each other.\u003c/p>\n\u003cp>As a synesthetic visual artist, I translate what I hear into visible form so others can see the beauty of sound. My artwork begins with a song I’ve fallen in love with, emotionally, aurally, and visually. In the studio, I put the song on loop and listen and watch to see what shapes and colors appear. I pull out corresponding bottles of ink and begin spilling them on the canvas. I blow air into the color, creating a contrasting lightness to the dark, and form the ink into shapes with palette knives and sponges.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "vimeoLink",
"attributes": {
"named": {
"vimeoId": "245458363"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\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>In my work for Bleachers’ “Don’t Take The Money,” I focus on the many sounds contained in the pre-chorus. Each main vocal phrase (“In my dreams, I’m to blame / Different sides of the bed / Roll your eyes, shave my head”) produces rapidly-ascending towers of hot pink and lime-green. The bass, plus the interspersed, digitized backing vocals in lower octaves, provide a dark and bubbly foundation. The percussion and all the fun sounds moving in and out add-in flashes of different hues and textures. I collect all these colors and shape them into what I see in the buildup and hit just before chorus: a staircase-shaped, sunshine-colored explosion.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "vimeoLink",
"attributes": {
"named": {
"vimeoId": "245458956"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The very first chord of Moses Sumney’s “Doomed” is an oceanic, dark blue paired with a rich vermilion. Moses’ voice is interesting to watch – sometimes it’s a saturated charcoal-black, sometimes it’s a smooth aqua – and that captivating, quick, occasional catch in his voice that sounds like an alto sax… it’s a moment of sandpaper-textured gold. Warm light enters the scene the first time Moses sings “Am I doomed?” As the song progresses, I’m emotionally affected by the sonic expansion and the emotional heaviness of the lyrics, and I incorporate it into the work. The soaring, far-away vocal cries in the background are a writhing purple. At the apex of the song, light pushes back the dark colors, and recedes again as the song draws back into itself.\u003c/p>\n\u003cp>As I’ve continued to create synesthetic artwork, I’ve discovered that much of the aurally-stimulated imagery I see can also effectively communicate other invisible concepts, like joy or despair or loneliness or hope. There are some sounds that produce a distinct type of deep and powerfully evocative imagery and these rich visuals are able to depict difficult ideas and emotions that might be too elusive to paint, or even verbally express. Music is what allows me to create synesthetic artwork, offering a visual voice to the hidden, complex, and inexpressible experiences of humanity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More from Christina Eve can be found \u003ca href=\"https://christinaeveartist.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+A+Synesthetic+Artist+Sees+Sounds+And+Turns+Music+Into+Paintings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13831729/how-a-synesthetic-artist-sees-sounds-and-turns-music-into-paintings",
"authors": [
"byline_arts_13831729"
],
"categories": [
"arts_1",
"arts_70"
],
"tags": [
"arts_21788",
"arts_4773",
"arts_596",
"arts_2636",
"arts_973",
"arts_901"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13831737",
"label": "arts_137"
},
"arts_13830717": {
"type": "posts",
"id": "arts_13830717",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13830717",
"score": null,
"sort": [
1525273250000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1525273250,
"format": "audio",
"title": "Mixtape: Highlights in Bay Area Latin Music",
"headTitle": "Mixtape: Highlights in Bay Area Latin Music | KQED",
"content": "\u003cp>The Bay Area has a rich history of acclaimed musicians drawing from the many musical styles of Latin America. That legacy continues today, with an array of Latinx artists incorporating cumbia, salsa, rumba, reggaeton and Latin rock into their work.\u003c/p>\n\u003cp>This mixtape showcases 11 songs from local artists drawing from Latin music. The diversity of sounds included here is immediately noticeable upon first listen. Even though half of the artists in this mix are inspired in part by cumbia, each folds the genre into their approach in different ways, from \u003ca href=\"http://lamisanegra.squarespace.com/\" target=\"_blank\" rel=\"noopener\">La Misa Negra\u003c/a>‘s heavy Afro-Colombian work to the prog-y psych of \u003ca href=\"https://www.facebook.com/malagrenasonido/\" target=\"_blank\" rel=\"noopener\">Mala Greña\u003c/a>. Psychedelia also informs the experimental compositions of \u003ca href=\"https://www.almasfronterizas.com/\" target=\"_blank\" rel=\"noopener\">Almas Fronterizas\u003c/a> and the soul- and jazz-inspired \u003ca href=\"http://locotranquilo.com/\" target=\"_blank\" rel=\"noopener\">Loco Tranquilo\u003c/a>, while hip-hop and electronic music influence the music of \u003ca href=\"https://losrakas.com/\" target=\"_blank\" rel=\"noopener\">Los Rakas\u003c/a>, \u003ca href=\"http://soltronsf.com/\" target=\"_blank\" rel=\"noopener\">Soltron\u003c/a>, \u003ca href=\"https://www.ginamadrid.com/\" target=\"_blank\" rel=\"noopener\">Gina Madrid\u003c/a> and \u003ca href=\"http://www.bangdata.com/\" target=\"_blank\" rel=\"noopener\">Bang Data\u003c/a>.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 11 artists spotlighted in this mix.\u003c/p>\n\u003cp>\u003cstrong>Tracklist\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://lamisanegra.squarespace.com/\" target=\"_blank\" rel=\"noopener\">La Misa Negra\u003c/a>, “Sancocho”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.bangdata.com/\" target=\"_blank\" rel=\"noopener\">Bang Data\u003c/a>, “Ya No Más”\u003c/p>\n\u003cp>\u003ca href=\"http://soltronsf.com/\" target=\"_blank\" rel=\"noopener\">Soltron\u003c/a>, “Arroz Con Gandules”\u003c/p>\n\u003cp>\u003ca href=\"https://www.locuramusica.org\" target=\"_blank\" rel=\"noopener\">LoCura\u003c/a>, “Dos Lobos”\u003c/p>\n\u003cp>\u003ca href=\"https://www.ginamadrid.com/\" target=\"_blank\" rel=\"noopener\">Gina Madrid\u003c/a>, “Sangre (feat. Nikila)”\u003c/p>\n\u003cp>\u003ca href=\"https://lagentemusicsf.com/\" target=\"_blank\" rel=\"noopener\">La Gente\u003c/a>, “Morena”\u003c/p>\n\u003cp>\u003ca href=\"https://www.almasfronterizas.com/\" target=\"_blank\" rel=\"noopener\">Almas Fronterizas\u003c/a>, “Rosa Tropical”\u003c/p>\n\u003cp>\u003ca href=\"http://locotranquilo.com/\" target=\"_blank\" rel=\"noopener\">Loco Tranquilo\u003c/a>, “Iris”\u003c/p>\n\u003cp>\u003ca href=\"https://losrakas.com/\" target=\"_blank\" rel=\"noopener\">Los Rakas\u003c/a>, “Me Enamoro”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/malagrenasonido/\" target=\"_blank\" rel=\"noopener\">Mala Greña\u003c/a>, “Movimientos De La Serpiente (Live)”\u003c/p>\n\u003cp>\u003ca href=\"https://www.soulyagua.com/\" target=\"_blank\" rel=\"noopener\">Soul y Agua\u003c/a>, “Mi Reflejo (Demo)”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Subscribe to \u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=128915127&s=143441\" target=\"_blank\" rel=\"noopener\">The Bay Bridged Podcast\u003c/a> here.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 245,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705027964,
"excerpt": "New sounds from La Misa Negra, Los Rakas and other artists drawing inspiration from Latin America. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "New sounds from La Misa Negra, Los Rakas and other artists drawing inspiration from Latin America. ",
"title": "Mixtape: Highlights in Bay Area Latin Music | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Mixtape: Highlights in Bay Area Latin Music",
"datePublished": "2018-05-02T08:00:50-07:00",
"dateModified": "2024-01-11T18:52:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mixtape-highlights-in-bay-area-latin-music",
"status": "publish",
"audioUrl": "http://media.libsyn.com/media/thebaybridged/Latin_Music_Mixtape.mp3",
"sticky": false,
"path": "/arts/13830717/mixtape-highlights-in-bay-area-latin-music",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area has a rich history of acclaimed musicians drawing from the many musical styles of Latin America. That legacy continues today, with an array of Latinx artists incorporating cumbia, salsa, rumba, reggaeton and Latin rock into their work.\u003c/p>\n\u003cp>This mixtape showcases 11 songs from local artists drawing from Latin music. The diversity of sounds included here is immediately noticeable upon first listen. Even though half of the artists in this mix are inspired in part by cumbia, each folds the genre into their approach in different ways, from \u003ca href=\"http://lamisanegra.squarespace.com/\" target=\"_blank\" rel=\"noopener\">La Misa Negra\u003c/a>‘s heavy Afro-Colombian work to the prog-y psych of \u003ca href=\"https://www.facebook.com/malagrenasonido/\" target=\"_blank\" rel=\"noopener\">Mala Greña\u003c/a>. Psychedelia also informs the experimental compositions of \u003ca href=\"https://www.almasfronterizas.com/\" target=\"_blank\" rel=\"noopener\">Almas Fronterizas\u003c/a> and the soul- and jazz-inspired \u003ca href=\"http://locotranquilo.com/\" target=\"_blank\" rel=\"noopener\">Loco Tranquilo\u003c/a>, while hip-hop and electronic music influence the music of \u003ca href=\"https://losrakas.com/\" target=\"_blank\" rel=\"noopener\">Los Rakas\u003c/a>, \u003ca href=\"http://soltronsf.com/\" target=\"_blank\" rel=\"noopener\">Soltron\u003c/a>, \u003ca href=\"https://www.ginamadrid.com/\" target=\"_blank\" rel=\"noopener\">Gina Madrid\u003c/a> and \u003ca href=\"http://www.bangdata.com/\" target=\"_blank\" rel=\"noopener\">Bang Data\u003c/a>.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 11 artists spotlighted in this mix.\u003c/p>\n\u003cp>\u003cstrong>Tracklist\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://lamisanegra.squarespace.com/\" target=\"_blank\" rel=\"noopener\">La Misa Negra\u003c/a>, “Sancocho”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.bangdata.com/\" target=\"_blank\" rel=\"noopener\">Bang Data\u003c/a>, “Ya No Más”\u003c/p>\n\u003cp>\u003ca href=\"http://soltronsf.com/\" target=\"_blank\" rel=\"noopener\">Soltron\u003c/a>, “Arroz Con Gandules”\u003c/p>\n\u003cp>\u003ca href=\"https://www.locuramusica.org\" target=\"_blank\" rel=\"noopener\">LoCura\u003c/a>, “Dos Lobos”\u003c/p>\n\u003cp>\u003ca href=\"https://www.ginamadrid.com/\" target=\"_blank\" rel=\"noopener\">Gina Madrid\u003c/a>, “Sangre (feat. Nikila)”\u003c/p>\n\u003cp>\u003ca href=\"https://lagentemusicsf.com/\" target=\"_blank\" rel=\"noopener\">La Gente\u003c/a>, “Morena”\u003c/p>\n\u003cp>\u003ca href=\"https://www.almasfronterizas.com/\" target=\"_blank\" rel=\"noopener\">Almas Fronterizas\u003c/a>, “Rosa Tropical”\u003c/p>\n\u003cp>\u003ca href=\"http://locotranquilo.com/\" target=\"_blank\" rel=\"noopener\">Loco Tranquilo\u003c/a>, “Iris”\u003c/p>\n\u003cp>\u003ca href=\"https://losrakas.com/\" target=\"_blank\" rel=\"noopener\">Los Rakas\u003c/a>, “Me Enamoro”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/malagrenasonido/\" target=\"_blank\" rel=\"noopener\">Mala Greña\u003c/a>, “Movimientos De La Serpiente (Live)”\u003c/p>\n\u003cp>\u003ca href=\"https://www.soulyagua.com/\" target=\"_blank\" rel=\"noopener\">Soul y Agua\u003c/a>, “Mi Reflejo (Demo)”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Subscribe to \u003ca href=\"http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=128915127&s=143441\" target=\"_blank\" rel=\"noopener\">The Bay Bridged Podcast\u003c/a> here.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13830717/mixtape-highlights-in-bay-area-latin-music",
"authors": [
"178"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_21788",
"arts_2519",
"arts_2151",
"arts_596"
],
"featImg": "arts_13830718",
"label": "arts"
},
"arts_13826724": {
"type": "posts",
"id": "arts_13826724",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13826724",
"score": null,
"sort": [
1520615315000
]
},
"guestAuthors": [],
"slug": "remembering-annie-southworth-booster-for-san-franciscos-rock-scene",
"title": "Remembering Annie Southworth, Booster for San Francisco's Rock Scene",
"publishDate": 1520615315,
"format": "image",
"headTitle": "Remembering Annie Southworth, Booster for San Francisco’s Rock Scene | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Annie Southworth, a beloved local music promoter and tireless advocate for the Bay Area’s artistic underground, died last week after a long, public bout with breast cancer. She was 48.\u003c/p>\n\u003cp>Before her disease made it impossible to work, she promoted shows in San Francisco for two decades, focusing her efforts on supporting up-and-coming bands. She spent years as a talent buyer for Noise Pop, and booked shows at venues such as the Rite Spot and 12 Galaxies. She also worked as an agent for several bands, and is credited with boosting the careers of groups like Thee Oh Sees, The Dodos and the Fresh and Onlys.\u003c/p>\n\u003cp>“[Annie] had a great ear and an even bigger heart,” local talent booker Tony Bedard said. “Her work positively impacted a lot of people’s lives and, most importantly, made San Francisco a fun and exciting place to live.”\u003c/p>\n\u003cp>Born in 1969 and adopted as an infant, Southworth came to the Bay Area from the midwest at a young age, first to San Jose and later to Santa Cruz. Childhood friend Kim Howard says Southworth’s love of show business came early. As children, the two friends performed with a local dance troupe called the Lee Dancers, “a small outfit run by an extraordinarily large woman who sat in a folding chair and stomped her cane to the music as she instructed us,” according to Howard. When the two friends weren’t at practice or dance recitals, they played at a neighbor’s house, where the budding performers had free reign.\u003c/p>\n\u003cfigure id=\"attachment_13826741\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-800x621.jpg\" alt=\"Annie Southworth (center) in 2nd Grade\" width=\"800\" height=\"621\" class=\"size-medium wp-image-13826741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-960x746.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-520x404.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class.jpg 1101w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth (center) in 2nd Grade \u003ccite>(Courtesy of Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have many memories of spending weekends making up plays and dressing in costume, singing and pretending to be various characters,” Howard wrote in an email.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then Southworth moved to Santa Cruz when she was 11. Howard met up with Southworth again when they were both in high school, and Howard says Southworth had become “so effing cool” she was intimidating.\u003c/p>\n\u003cp>“Her braided hair was bleached from all the sun, she wore surfer clothes and Doc Martens, and she rode a skateboard better than the guys,” Howard wrote. “She took me to a party and knew everyone and wasn’t afraid of anything — it was as if it was HER party. I would learn later that pretty much any party Annie attended WAS her party.” \u003c/p>\n\u003ch2>The Acid Cabaret\u003c/h2>\n\u003cp>By the early ’90s, Southworth lived in San Francisco, and was a regular at local shows and hangouts like the Cassanova Lounge. Her first big entree in show promotion came near the end of the decade, when she started \u003ca href=\"http://www.yaylove.com/happyfun/ass_cab/index.htm\" rel=\"noopener\" target=\"_blank\">the Acid Cabaret\u003c/a> with friend Stephen De Zordo. The event, which De Zrodo hosted as his alter ego “Partyball,” was a “\u003ca href=\"https://www.sfgate.com/music/article/Buzz-Town-hits-New-York-City-and-finds-much-of-2774690.php\" rel=\"noopener\" target=\"_blank\">debacherous, chaotic\u003c/a>” free-form variety show held at venues like the Rite Spot. Southworth co-hosted and handled much of the work behind the scenes. The cabaret went on for years in San Francisco, and in the 2000s it became a popular event at Burning Man. \u003c/p>\n\u003cfigure id=\"attachment_13826745\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_0355-800x1692.jpg\" alt=\"Poster for Acid Cabaret at Burning Man, 2004\" width=\"800\" height=\"1692\" class=\"size-medium wp-image-13826745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-800x1692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-160x338.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-768x1625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-1020x2158.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-1180x2496.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-960x2031.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-240x508.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-375x793.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-520x1100.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster for Acid Cabaret at Burning Man, 2004 \u003ccite>(Courtesy of Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For Acid Cabaret at the 2002 Burning Man, we built a fully-functioning, large-tented theater with seats, lights, PA system, a stage, and an upright piano. We opened for business every night for a week, providing hours of impromptu performances of stellar, mind-blowing quality,” Bedard said. “The camp had a reputation and drew in people from all over the festival.”\u003c/p>\n\u003cp>That same year, Southworth, Bedard and others made a TV version of the Acid Cabaret called \u003ci>ACTV\u003c/i> for public access television, which featured several of the cabaret’s best acts. \u003c/p>\n\u003cp>Around the same time, Southworth expanded her promotional work beyond Acid Cabaret to booking shows at the Rite Spot and the 12 Galaxies. Justin Frahm of the acoustic metal cover band Crystal Methestopholes said he learned early why Southworth was a good promoter when she asked him to play her birthday at the newly-opened Hemlock and his band hesitated.\u003c/p>\n\u003cp>“Hesitation was futile, of course, as Annie had that way about her: that mixture of joviality, intimidation, exuberance, and sternness. Of course we would play it, and play it we did,” Frahm said on Facebook. \u003c/p>\n\u003ch2>A Friend to Bands\u003c/h2>\n\u003cp>By the early ’00s, Southworth was acting as an agent for local groups. Southworth had an incredible eye for talent, according to Noise Pop general manager Dawson Ludwig, who said she “had some of the best ears the festival has seen.”\u003c/p>\n\u003cp>Many of the bands she represented saw success. Southworth worked with the Dodos, the Dirty Ghosts and Kelley Stoltz, all of whom received her help at critical career junctions.\u003c/p>\n\u003cp>“Annie Southworth, thanks for being the only person who came to my first show in Paris. For 1,000 other hangs at concerts, and laughs, political discussions and the many glasses of rosé in the wee small hours at the Rite Spot,” Stoltz wrote on Facebook after Southworth’s death. \u003c/p>\n\u003cp>But the band Southworth was most known for representing was Thee Oh Sees, the spastic, psycho-boogie-rock juggernaut helmed by former San Franciscan John Dwyer. Southworth became their agent early in the band’s career, taking over the “thankless job” from Dwyer when he couldn’t keep up with the workload.\u003c/p>\n\u003cfigure id=\"attachment_13826786\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Coachella2010-800x600.jpg\" alt=\"Southworth and Panache Booking founder Michelle Cable at Coachella 2010\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Southworth and Panache Booking founder Michelle Cable at Coachella 2010 \u003ccite>(Courtesy of Michelle Cable)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s when everything changed for the band, says Brigid Dawson, former singer of Thee Oh Sees and Southworth’s longtime friend. While Dwyer did well booking their tours, Dawson said it was Southworth’s work that allowed the members of Thee Oh Sees to quit their jobs and focus on the group exclusively.\u003c/p>\n\u003cp>“Once we had Annie fighting in our corner, we saw a big change right away,” Dawson said. “I don’t think John knew his worth as a player or our worth as a band, and I think it was really easy for Annie to take that over and fight for us.”\u003c/p>\n\u003cp>In 2008, Southworth decided to part ways with Leafy Green booking and join forces with her old friend Michelle Cable, who had talent agency called Panache Booking that was just starting out. Looking back, Cable describes the moment as “monumental,” as Southworth brought her bands and her years of experience to the upstart company.\u003c/p>\n\u003cp>“Annie wasn’t some 21-year-old kid. She was an empowered woman,” Cable said. “That really helped me get confident in what I was doing.”\u003c/p>\n\u003cp>Loyal to Southworth, Thee Oh Sees moved to Panache and become one of the agency’s flagship groups. Southworth helped \u003ca href=\"http://www.panacherock.com/artists/\" rel=\"noopener\" target=\"_blank\">Panache\u003c/a> become the agency it is today, with groups like Ty Segall, Mac DeMarco and U.S. Girls on its roster.\u003c/p>\n\u003cfigure id=\"attachment_13826793\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_0039-800x530.jpg\" alt=\"Annie Southworth at a 2017 wedding in Mexico\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13826793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth at a 2017 wedding in Mexico \u003ccite>(Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Battle With Cancer\u003c/h2>\n\u003cp>Dwyer says that Southworth revealed her breast cancer diagnosis to him while they were in customs at an airport in Iceland. \u003c/p>\n\u003cp>There’s “never a good time, really” to learn that a friend has cancer, Dwyer wrote in an email. “But that was rough.”\u003c/p>\n\u003cp>Southworth had learned of her cancer months before, but held off on chemotherapy until after her Iceland trip. She planned the vacation with her young niece McKenzie, later described as “like a daughter to her,” so she didn’t cancel. \u003c/p>\n\u003cp>“She never seemed to freak out about how things would turn out,” said close friend Gina Privitere. \u003c/p>\n\u003cp>When she came back and underwent treatment, she realized she couldn’t live on her own anymore. The treatment meant she had to move from her cherished San Francisco to Chico and live with her parents.\u003c/p>\n\u003cp>https://www.instagram.com/p/BcwJorVh7sO\u003c/p>\n\u003cp>Southworth posted regularly on social media about her battle with cancer and all that it entailed — losing her hair, having an appreciation for marijuana and the anxiety she felt when at the doctor’s office. Though outgoing, Southworth was a private person who let few really know her, and yet she was like an open book with her treatment. She also advocated heavily for women to be vigilant about their mammograms. \u003c/p>\n\u003cp>“Annie’s openness about her treatment was touching and helped me personally,” artist and cancer survivor Janelle Hessig said. “We had planned to have a bald headed dinner at Farmhouse Thai when she was able.”\u003c/p>\n\u003cp>But in November of last year, Southworth learned her cancer had spread to her lungs, liver and brain. She posted the news on \u003ca href=\"https://www.facebook.com/anniesouth/posts/10154942062552026\" rel=\"noopener\" target=\"_blank\">social media\u003c/a>, adding that she was still grateful for the life she had.\u003c/p>\n\u003cp>“I know it’s harsh news, but if you can believe it I’m beyond thankful for all the love, care and support my friends and family have afforded me. Every well wish helps, as does every good vibe,” Southworth wrote. \u003c/p>\n\u003cfigure id=\"attachment_13826819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/annieFARM-800x533.jpg\" alt=\"Annie Southworth, 2008\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth, 2008 \u003ccite>(Anthony Bedard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friends and family bought plane tickets to fulfill her wish for one last vacation in Palm Springs, but she became too sick to go. By the end of February, Southworth was in hospice in Chico. She died, surrounded by her family, on Feb. 27. \u003c/p>\n\u003cp>“My dear friend Annie left us last night, after an heroic battle with cancer. She was an absolute holy terror of a human being, simultaneously warm, generous, hilarious, mischievous, adventurous, and, at all times, full of a vigor that inspired me, and many others, to walk out into the world, and demand it be held to a higher standard,” friend Alexander Johnson \u003ca href=\"https://www.facebook.com/alexander.johnson.336/posts/10214059384711527\" rel=\"noopener\" target=\"_blank\">wrote on Facebook\u003c/a> on the day of Southworth’s death. \u003c/p>\n\u003cp>“I’ve never met a person with a life force as strong as Annie Southworth, and I’m certain I never will again.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Annie Southworth’s family plans to hold a private memorial. The Rite Spot, where Southworth used to work, is hosting a memorial fundraiser — the first of several planned — on March 16, from 7pm to close. \u003ca href=\"http://www.ritespotcafe.net/calendar.php\" rel=\"noopener\" target=\"_blank\">Details are here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Annie Southworth died from breast cancer last week, leaving a legacy of being at the center of wild times in San Francisco's underground rock scene.",
"status": "publish",
"parent": 0,
"modified": 1726706661,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 37,
"wordCount": 1736
},
"headData": {
"title": "Remembering Annie Southworth, Booster for San Francisco's Rock Scene | KQED",
"description": "Annie Southworth died from breast cancer last week, leaving a legacy of being at the center of wild times in San Francisco's underground rock scene.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Remembering Annie Southworth, Booster for San Francisco's Rock Scene",
"datePublished": "2018-03-09T09:08:35-08:00",
"dateModified": "2024-09-18T17:44:21-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13826724/remembering-annie-southworth-booster-for-san-franciscos-rock-scene",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Annie Southworth, a beloved local music promoter and tireless advocate for the Bay Area’s artistic underground, died last week after a long, public bout with breast cancer. She was 48.\u003c/p>\n\u003cp>Before her disease made it impossible to work, she promoted shows in San Francisco for two decades, focusing her efforts on supporting up-and-coming bands. She spent years as a talent buyer for Noise Pop, and booked shows at venues such as the Rite Spot and 12 Galaxies. She also worked as an agent for several bands, and is credited with boosting the careers of groups like Thee Oh Sees, The Dodos and the Fresh and Onlys.\u003c/p>\n\u003cp>“[Annie] had a great ear and an even bigger heart,” local talent booker Tony Bedard said. “Her work positively impacted a lot of people’s lives and, most importantly, made San Francisco a fun and exciting place to live.”\u003c/p>\n\u003cp>Born in 1969 and adopted as an infant, Southworth came to the Bay Area from the midwest at a young age, first to San Jose and later to Santa Cruz. Childhood friend Kim Howard says Southworth’s love of show business came early. As children, the two friends performed with a local dance troupe called the Lee Dancers, “a small outfit run by an extraordinarily large woman who sat in a folding chair and stomped her cane to the music as she instructed us,” according to Howard. When the two friends weren’t at practice or dance recitals, they played at a neighbor’s house, where the budding performers had free reign.\u003c/p>\n\u003cfigure id=\"attachment_13826741\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-800x621.jpg\" alt=\"Annie Southworth (center) in 2nd Grade\" width=\"800\" height=\"621\" class=\"size-medium wp-image-13826741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-800x621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-768x596.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-1020x792.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-960x746.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class-520x404.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Annie-2nd-Grade-with-Mrs.-Lees-class.jpg 1101w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth (center) in 2nd Grade \u003ccite>(Courtesy of Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have many memories of spending weekends making up plays and dressing in costume, singing and pretending to be various characters,” Howard wrote in an email.\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>Then Southworth moved to Santa Cruz when she was 11. Howard met up with Southworth again when they were both in high school, and Howard says Southworth had become “so effing cool” she was intimidating.\u003c/p>\n\u003cp>“Her braided hair was bleached from all the sun, she wore surfer clothes and Doc Martens, and she rode a skateboard better than the guys,” Howard wrote. “She took me to a party and knew everyone and wasn’t afraid of anything — it was as if it was HER party. I would learn later that pretty much any party Annie attended WAS her party.” \u003c/p>\n\u003ch2>The Acid Cabaret\u003c/h2>\n\u003cp>By the early ’90s, Southworth lived in San Francisco, and was a regular at local shows and hangouts like the Cassanova Lounge. Her first big entree in show promotion came near the end of the decade, when she started \u003ca href=\"http://www.yaylove.com/happyfun/ass_cab/index.htm\" rel=\"noopener\" target=\"_blank\">the Acid Cabaret\u003c/a> with friend Stephen De Zordo. The event, which De Zrodo hosted as his alter ego “Partyball,” was a “\u003ca href=\"https://www.sfgate.com/music/article/Buzz-Town-hits-New-York-City-and-finds-much-of-2774690.php\" rel=\"noopener\" target=\"_blank\">debacherous, chaotic\u003c/a>” free-form variety show held at venues like the Rite Spot. Southworth co-hosted and handled much of the work behind the scenes. The cabaret went on for years in San Francisco, and in the 2000s it became a popular event at Burning Man. \u003c/p>\n\u003cfigure id=\"attachment_13826745\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_0355-800x1692.jpg\" alt=\"Poster for Acid Cabaret at Burning Man, 2004\" width=\"800\" height=\"1692\" class=\"size-medium wp-image-13826745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-800x1692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-160x338.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-768x1625.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-1020x2158.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-1180x2496.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-960x2031.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-240x508.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-375x793.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355-520x1100.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0355.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster for Acid Cabaret at Burning Man, 2004 \u003ccite>(Courtesy of Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For Acid Cabaret at the 2002 Burning Man, we built a fully-functioning, large-tented theater with seats, lights, PA system, a stage, and an upright piano. We opened for business every night for a week, providing hours of impromptu performances of stellar, mind-blowing quality,” Bedard said. “The camp had a reputation and drew in people from all over the festival.”\u003c/p>\n\u003cp>That same year, Southworth, Bedard and others made a TV version of the Acid Cabaret called \u003ci>ACTV\u003c/i> for public access television, which featured several of the cabaret’s best acts. \u003c/p>\n\u003cp>Around the same time, Southworth expanded her promotional work beyond Acid Cabaret to booking shows at the Rite Spot and the 12 Galaxies. Justin Frahm of the acoustic metal cover band Crystal Methestopholes said he learned early why Southworth was a good promoter when she asked him to play her birthday at the newly-opened Hemlock and his band hesitated.\u003c/p>\n\u003cp>“Hesitation was futile, of course, as Annie had that way about her: that mixture of joviality, intimidation, exuberance, and sternness. Of course we would play it, and play it we did,” Frahm said on Facebook. \u003c/p>\n\u003ch2>A Friend to Bands\u003c/h2>\n\u003cp>By the early ’00s, Southworth was acting as an agent for local groups. Southworth had an incredible eye for talent, according to Noise Pop general manager Dawson Ludwig, who said she “had some of the best ears the festival has seen.”\u003c/p>\n\u003cp>Many of the bands she represented saw success. Southworth worked with the Dodos, the Dirty Ghosts and Kelley Stoltz, all of whom received her help at critical career junctions.\u003c/p>\n\u003cp>“Annie Southworth, thanks for being the only person who came to my first show in Paris. For 1,000 other hangs at concerts, and laughs, political discussions and the many glasses of rosé in the wee small hours at the Rite Spot,” Stoltz wrote on Facebook after Southworth’s death. \u003c/p>\n\u003cp>But the band Southworth was most known for representing was Thee Oh Sees, the spastic, psycho-boogie-rock juggernaut helmed by former San Franciscan John Dwyer. Southworth became their agent early in the band’s career, taking over the “thankless job” from Dwyer when he couldn’t keep up with the workload.\u003c/p>\n\u003cfigure id=\"attachment_13826786\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Coachella2010-800x600.jpg\" alt=\"Southworth and Panache Booking founder Michelle Cable at Coachella 2010\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Coachella2010.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Southworth and Panache Booking founder Michelle Cable at Coachella 2010 \u003ccite>(Courtesy of Michelle Cable)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s when everything changed for the band, says Brigid Dawson, former singer of Thee Oh Sees and Southworth’s longtime friend. While Dwyer did well booking their tours, Dawson said it was Southworth’s work that allowed the members of Thee Oh Sees to quit their jobs and focus on the group exclusively.\u003c/p>\n\u003cp>“Once we had Annie fighting in our corner, we saw a big change right away,” Dawson said. “I don’t think John knew his worth as a player or our worth as a band, and I think it was really easy for Annie to take that over and fight for us.”\u003c/p>\n\u003cp>In 2008, Southworth decided to part ways with Leafy Green booking and join forces with her old friend Michelle Cable, who had talent agency called Panache Booking that was just starting out. Looking back, Cable describes the moment as “monumental,” as Southworth brought her bands and her years of experience to the upstart company.\u003c/p>\n\u003cp>“Annie wasn’t some 21-year-old kid. She was an empowered woman,” Cable said. “That really helped me get confident in what I was doing.”\u003c/p>\n\u003cp>Loyal to Southworth, Thee Oh Sees moved to Panache and become one of the agency’s flagship groups. Southworth helped \u003ca href=\"http://www.panacherock.com/artists/\" rel=\"noopener\" target=\"_blank\">Panache\u003c/a> become the agency it is today, with groups like Ty Segall, Mac DeMarco and U.S. Girls on its roster.\u003c/p>\n\u003cfigure id=\"attachment_13826793\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_0039-800x530.jpg\" alt=\"Annie Southworth at a 2017 wedding in Mexico\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13826793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0039-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth at a 2017 wedding in Mexico \u003ccite>(Gina Privitere)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Battle With Cancer\u003c/h2>\n\u003cp>Dwyer says that Southworth revealed her breast cancer diagnosis to him while they were in customs at an airport in Iceland. \u003c/p>\n\u003cp>There’s “never a good time, really” to learn that a friend has cancer, Dwyer wrote in an email. “But that was rough.”\u003c/p>\n\u003cp>Southworth had learned of her cancer months before, but held off on chemotherapy until after her Iceland trip. She planned the vacation with her young niece McKenzie, later described as “like a daughter to her,” so she didn’t cancel. \u003c/p>\n\u003cp>“She never seemed to freak out about how things would turn out,” said close friend Gina Privitere. \u003c/p>\n\u003cp>When she came back and underwent treatment, she realized she couldn’t live on her own anymore. The treatment meant she had to move from her cherished San Francisco to Chico and live with her parents.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/BcwJorVh7sO"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Southworth posted regularly on social media about her battle with cancer and all that it entailed — losing her hair, having an appreciation for marijuana and the anxiety she felt when at the doctor’s office. Though outgoing, Southworth was a private person who let few really know her, and yet she was like an open book with her treatment. She also advocated heavily for women to be vigilant about their mammograms. \u003c/p>\n\u003cp>“Annie’s openness about her treatment was touching and helped me personally,” artist and cancer survivor Janelle Hessig said. “We had planned to have a bald headed dinner at Farmhouse Thai when she was able.”\u003c/p>\n\u003cp>But in November of last year, Southworth learned her cancer had spread to her lungs, liver and brain. She posted the news on \u003ca href=\"https://www.facebook.com/anniesouth/posts/10154942062552026\" rel=\"noopener\" target=\"_blank\">social media\u003c/a>, adding that she was still grateful for the life she had.\u003c/p>\n\u003cp>“I know it’s harsh news, but if you can believe it I’m beyond thankful for all the love, care and support my friends and family have afforded me. Every well wish helps, as does every good vibe,” Southworth wrote. \u003c/p>\n\u003cfigure id=\"attachment_13826819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/annieFARM-800x533.jpg\" alt=\"Annie Southworth, 2008\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13826819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/annieFARM.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie Southworth, 2008 \u003ccite>(Anthony Bedard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friends and family bought plane tickets to fulfill her wish for one last vacation in Palm Springs, but she became too sick to go. By the end of February, Southworth was in hospice in Chico. She died, surrounded by her family, on Feb. 27. \u003c/p>\n\u003cp>“My dear friend Annie left us last night, after an heroic battle with cancer. She was an absolute holy terror of a human being, simultaneously warm, generous, hilarious, mischievous, adventurous, and, at all times, full of a vigor that inspired me, and many others, to walk out into the world, and demand it be held to a higher standard,” friend Alexander Johnson \u003ca href=\"https://www.facebook.com/alexander.johnson.336/posts/10214059384711527\" rel=\"noopener\" target=\"_blank\">wrote on Facebook\u003c/a> on the day of Southworth’s death. \u003c/p>\n\u003cp>“I’ve never met a person with a life force as strong as Annie Southworth, and I’m certain I never will again.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Annie Southworth’s family plans to hold a private memorial. The Rite Spot, where Southworth used to work, is hosting a memorial fundraiser — the first of several planned — on March 16, from 7pm to close. \u003ca href=\"http://www.ritespotcafe.net/calendar.php\" rel=\"noopener\" target=\"_blank\">Details are here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13826724/remembering-annie-southworth-booster-for-san-franciscos-rock-scene",
"authors": [
"93"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_1118",
"arts_21788",
"arts_596"
],
"featImg": "arts_13826727",
"label": "arts"
},
"arts_13825462": {
"type": "posts",
"id": "arts_13825462",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13825462",
"score": null,
"sort": [
1519653617000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1519653617,
"format": "image",
"title": "Everything We Loved at Noise Pop 2018",
"headTitle": "Everything We Loved at Noise Pop 2018 | KQED",
"content": "\u003cp>The only unfortunate thing about Noise Pop is that it’s impossible to be everywhere at once throughout the week-long fest. With over eight shows happening per night in different corners of the Bay — and major headliners like Superchunk and Ty Dolla $ign playing at the same time — festival-goers have to make some tough calls. Everyone who chose another show over Madlib’s DJ set at the Mezzanine on Feb. 22, for instance, probably felt major FOMO when they found out Dave Chappelle and Yasiin Bey showed up on stage. (I know I did.)\u003c/p>\n\u003cp>Noise Pop has evolved considerably over the past 25 years. What started in 1993 as a one-day lineup now encompasses intimate club gigs with local musicians, chart-toppers in major concert halls, and underground legends in shows all around the Bay Area. This year’s edition continued Noise Pop’s \u003ca href=\"https://ww2.kqed.org/arts/2018/01/05/complete-noise-pop-lineup-is-here-now-with-extra-rap-and-rb/\" target=\"_blank\" rel=\"noopener\">embrace of hip-hop, R&B, and pop\u003c/a>, and even included some experimental and world music. Probably the most off-kilter event this year was the “sleep concert” by new age composer Robert Rich, where showgoers in sleeping bags spent the night at Gray Area while lulled into slumber with ambient electronics.\u003c/p>\n\u003cfigure id=\"attachment_13825544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8981-800x533.jpg\" alt=\"The crowd gets ready for Robert Rich's Sleep Concert at the Gray Area in San Fransisco. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd gets ready for Robert Rich’s Sleep Concert at the Gray Area in San Fransisco. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003cp>Along with KQED Arts’ senior editor Gabe Meline, contributor Montse Reyes, and photographer Estefany Gonzalez, I went to as many shows as I could handle this year. These are our highlights.\u003c/p>\n\u003cfigure id=\"attachment_13825591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_9551-800x533.jpg\" alt=\"Ty Dollar $ign plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dollar $ign plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Ty Dolla $ign Breaking Hearts with His Angelic Voice and Guitar Solo\u003c/h3>\n\u003cp>Ty Dolla $ign can turn up a club rapping about money and sex just as easily as he can move listeners to tears with his raspy, gospel-tinged falsetto, and he did both at the UC Theatre on Feb. 24. His high-energy performance showed why he’s one of the West Coast’s reigning hitmakers, bouncing from funky tracks like “Ex” to sweet serenades like “Don’t Judge Me,” nostalgic Top 40 hits like “Toot It and Boot It” and “Saved,” and club bangers like “Blase” and “Only Right.” As if his acrobatic voice alone wasn’t enough to prove his versatility, during a particularly sweet, emotional point in the show, Dolla climbed to the top of his stage setup and delivered a bluesy guitar solo as couples swayed and girls screamed. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Superchunk-800x556.jpg\" alt=\"Superchunk plays at the Great American Music Hall as part of the 2018 Noise Pop festival.\" width=\"800\" height=\"556\" class=\"size-medium wp-image-13825617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-960x668.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-520x362.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Superchunk plays at the Great American Music Hall as part of the 2018 Noise Pop festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Superchunk Finding the Fountain of Youth in Political Dissent\u003c/h3>\n\u003cp>Superchunk was \u003cem>on their game\u003c/em> at the Great American Music Hall. As he pogoed, kicked, soloed, dragged the mic stand around, banged his head and shouted to the ceiling, frontman Mac McCaughan made his case as the Dick Clark of indie rock, just an ageless ball of energy. The set drew heavily from the band’s new album \u003cem>What a Time to Be Alive\u003c/em> — directed at the current administration and “this f—king disaster of a country,” as MacCaughan said — while including blasts from the Clinton era like “Detroit Has a Skyline” and “Water Wings.” Just when it couldn’t get any better, Waxahatchee’s Katie Crutchfield showed up for a gorgeous duet on “Erasure,” and then it got even \u003cem>better\u003c/em> after that, with fan favorites “Driveway to Driveway,” “Cast Iron,” “The First Part,” “Mower” and more. The whole thing had a unifying feel to it; as McCaughan said at one point, “People living in glorious cities like San Francisco have the right idea about how people from all cultures can exist together.” \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_7760-800x533.jpg\" alt=\"Shabazz Palaces plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shabazz Palaces plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Shabazz Palaces Beaming Their Audience into a Futuristic Dimension\u003c/h3>\n\u003cp>With distance, one often sees more clearly. On Feb. 21 at The Chapel, Shabazz Palaces and their disorienting, experimental hip-hop beamed the audience away from the terrestrial to get a better look at what is on the ground. Before the duo launched into “Gunbeat Falls,” a warning of “disturbing content ahead” flashed on screen, followed by clips of war, tanks, and missiles exploding in the sky. The song is a sprawling critique of capitalism and its ills — violence, imperialism, and ritualistic consumption. But like in the rest of their set, Ishmael Butler and Tendai Maraire weren’t employing their futuristic sensibilities to help the audience escape. Rather, they were patching in from their world to encourage attendees to reflect on the ugliness of our own. Still, in the end the song returned to why we were there in the first place, “the beat will always save us.” \u003cem>— Montse Reyes\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825529\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8785-800x533.jpg\" alt=\"Tune-Yards plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tune-Yards plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tune-Yards’ Merrill Garbus Commanding a Forceful Presence\u003c/h3>\n\u003cp>Tune-Yards’ Merrill Garbus just \u003cem>moves\u003c/em> with a visceral musicality. At the Fox Theater on Feb. 23, she sang with a deep, resonant confidence, commanding her loop pedals and sample pads as if they were extensions of her body. Accompanied by a bassist and drummer, she delivered a funkified set imbued with a deep groove that had the audience moving the entire time. On “Powa,” one of her earlier tracks, she even hit a chill-inducing, Mariah-worthy falsetto. The only detraction from the performance’s fluidity was Garbus’ \u003ca href=\"https://www.npr.org/sections/allsongs/2018/01/19/578822264/tune-yards-merrill-garbus-pierces-her-own-privilege\" target=\"_blank\" rel=\"noopener\">cringeworthy track about being white\u003c/a>, “Colonizer.” I wished she had given a shout out to Black Lives Matter — or said something in solidarity with the anti-racist movement — instead of subjecting the audience to its navel-gazing, Macklemore-esque self-inquiry. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[gallery type=\"slideshow\" link=\"file\" ids=\"13825278,13825589,13825593,13825581,13825573,13825572,13825570,13825566,13825551,13825543,13825542,13825530,13825516,13825515,13825439,13825433,13825423,13825538,13825428,13825418,13825291,13825296,13825290,13825287,13825285,13825276\" orderby=\"rand\"]\u003c/p>\n\u003ch3>Shamir Making Millennials Forget Their Generational Woes\u003c/h3>\n\u003cp>Shamir’s lo-fi guitar rock is as self-aware and incisive as it is dreamy and personal. In the middle of his Feb. 24 set at the Rickshaw Stop, the Las Vegas musician started into his cheeky ode to the ever-scrutinized millennials, “90s Kids.” \u003cem>We talk with vocal fry / We watch our futures die\u003c/em>, he sang in deceptively dulcet tones before railing against misconceptions of the generation, that millennials are “gross and vain,” cold, greedy, and dramatic. The audience, full of his peers, seemed to agree. They raised beer bottles and glasses for a toast in an endearing show of camaraderie. For now at least, any creeping dread about insurmountable student loans, living up to parental expectations, and making rent could be quelled by Shamir’s charm. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/DougMartsch-800x492.jpg\" alt=\"Doug Martsch plays the Swedish American Hall as part of the 2018 Noise Pop festival.\" width=\"800\" height=\"492\" class=\"size-medium wp-image-13825616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-960x590.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-520x320.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Martsch plays the Swedish American Hall as part of the 2018 Noise Pop festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hearing a Pin Drop During Doug Martsch’s Solo Set\u003c/h3>\n\u003cp>Built to Spill had played \u003cem>Keep It Like a Secret\u003c/em> in its entirety to a sold-out Fillmore crowd the night before, but frontman Doug Martsch wasn’t done yet: his Feb. 21 solo acoustic set at the wood-paneled Swedish American Hall served as a nice afterglow. Along with folksy-bluesy numbers from his 2002 solo album \u003cem>Now You Know\u003c/em>, the show included Built to Spill favorites like “Big Dipper” and “Made-Up Dreams,” and the always-affable Martsch ended things with Wye Oak’s “Civilian,” performed with guest vocalist Kylee Swenson. Average Age of the Audience: 39. Most Common Place to See the Reflection of Overhead Lights: Doug Martsch’s balding crown. Relief in the Crowd That the Show Was Over Before 9:30pm: palpable. Chances That Indie Rock Will Age With Grace Instead of Entitlement and Crankiness: looking pretty good, actually. \u003cem>— GM\u003c/em>\u003c/p>\n\u003cdiv class=\"aligncenter\">\nhttps://www.instagram.com/p/BfjSVjiBKxR/?taken-by=imaneurope\n\u003c/div>\n\u003ch3>Iman Europe Stealing the Show at Cornerstone\u003c/h3>\n\u003cp>On Feb. 22, Caleborate packed Berkeley’s Cornerstone — the newly remodeled former pool hall — for an intimate set, performing his latest and most introspective album, \u003cem>Real Person\u003c/em>, in full. Caleborate is a masterful lyricist who makes his personal experiences feel vivid and relatable just as easily as he surprises listeners with clever turns of phrase. While Caleborate was warm and engaging with the audience, shouting out family members in attendance and even a performing a duet with his brother, Cash Campaign, who opened for him earlier, his set of \u003cem>Real Person\u003c/em>’s deep reflections had the pensive mood of sitting at home and writing in a journal. Performing before Caleborate, L.A. rapper-singer Iman Europe stole the show with her upbeat stage presence, infectious smile, and voice — rich, smoky, and an acquired taste, like a cup of good espresso. Europe seduced listeners with sexy R&B and then stopped them in their tracks with an a cappella freestyle, ending her set with “Oakland,” an homage to her favorite East Bay city. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825429\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825429\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8438-800x533.jpg\" alt=\"Jay Som plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jay Som plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jay Som Recreating the Comfort and Solitude of Our Bedrooms\u003c/h3>\n\u003cp>There are few spaces as quiet and sacred as one’s bedroom. At Gray Area on Feb. 22, openers lo-fi indie rockers Hand Habits brought the tender solitude a bedroom offers when one needs space to unravel. With Michelle Zauner of Japanese Breakfast’s sprightly energy, the stuccoed venue became an unfettered playground, the way your bedroom brings the comfort to exist without judgement. And the quiet, crushing vulnerability of Jay Som’s set brought to mind the way our bedrooms function like a museum of our lives — full of relics, secrets and baubles tied to distinct memories, both sweet and sad. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cdiv class=\"aligncenter\">\nhttps://www.instagram.com/p/BflslTmFo7m/?hl=en&taken-by=cirrus_oxide\n\u003c/div>\n\u003ch3>Chuck Johnson, on Lap Steel, Putting Listeners in a Trance\u003c/h3>\n\u003cp>On Feb. 21 at Oakland’s Starline Social Club, Portland rockers Grails delivered an all-instrumental, guitar-driven set that was dark, psychedelic, and even a little funky, in the vein of Roger Waters’ playing on Pink Floyd’s \u003cem>The Wall\u003c/em>. But their stoic, bespectacled opener, Chuck Johnson, had the audience transfixed without so much as saying a single word on stage. At first, it was unclear what Johnson was doing when he gently tapped the strings of his lap steel and activated several delay and loop pedals. But as he created a cloud of shimmering reverb, he began to play a swaying, wistful melody that recalled the glitter of twinkling stars in a desert sky. It was a single composition from start to finish, and listeners were entranced. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1860,
"hasGoogleForm": false,
"hasGallery": true,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705028416,
"excerpt": "Photos and highlights from this year's festival, including Ty Dolla $ign, tUnE-yArDs, Shabazz Palaces, Superchunk, and more. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Photos and highlights from this year's festival, including Ty Dolla $ign, tUnE-yArDs, Shabazz Palaces, Superchunk, and more. ",
"title": "Everything We Loved at Noise Pop 2018 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Everything We Loved at Noise Pop 2018",
"datePublished": "2018-02-26T06:00:17-08:00",
"dateModified": "2024-01-11T19:00:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "everything-we-loved-at-noise-pop-2018",
"status": "publish",
"sticky": false,
"path": "/arts/13825462/everything-we-loved-at-noise-pop-2018",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only unfortunate thing about Noise Pop is that it’s impossible to be everywhere at once throughout the week-long fest. With over eight shows happening per night in different corners of the Bay — and major headliners like Superchunk and Ty Dolla $ign playing at the same time — festival-goers have to make some tough calls. Everyone who chose another show over Madlib’s DJ set at the Mezzanine on Feb. 22, for instance, probably felt major FOMO when they found out Dave Chappelle and Yasiin Bey showed up on stage. (I know I did.)\u003c/p>\n\u003cp>Noise Pop has evolved considerably over the past 25 years. What started in 1993 as a one-day lineup now encompasses intimate club gigs with local musicians, chart-toppers in major concert halls, and underground legends in shows all around the Bay Area. This year’s edition continued Noise Pop’s \u003ca href=\"https://ww2.kqed.org/arts/2018/01/05/complete-noise-pop-lineup-is-here-now-with-extra-rap-and-rb/\" target=\"_blank\" rel=\"noopener\">embrace of hip-hop, R&B, and pop\u003c/a>, and even included some experimental and world music. Probably the most off-kilter event this year was the “sleep concert” by new age composer Robert Rich, where showgoers in sleeping bags spent the night at Gray Area while lulled into slumber with ambient electronics.\u003c/p>\n\u003cfigure id=\"attachment_13825544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8981-800x533.jpg\" alt=\"The crowd gets ready for Robert Rich's Sleep Concert at the Gray Area in San Fransisco. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8981-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd gets ready for Robert Rich’s Sleep Concert at the Gray Area in San Fransisco. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003cp>Along with KQED Arts’ senior editor Gabe Meline, contributor Montse Reyes, and photographer Estefany Gonzalez, I went to as many shows as I could handle this year. These are our highlights.\u003c/p>\n\u003cfigure id=\"attachment_13825591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_9551-800x533.jpg\" alt=\"Ty Dollar $ign plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_9551-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dollar $ign plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Ty Dolla $ign Breaking Hearts with His Angelic Voice and Guitar Solo\u003c/h3>\n\u003cp>Ty Dolla $ign can turn up a club rapping about money and sex just as easily as he can move listeners to tears with his raspy, gospel-tinged falsetto, and he did both at the UC Theatre on Feb. 24. His high-energy performance showed why he’s one of the West Coast’s reigning hitmakers, bouncing from funky tracks like “Ex” to sweet serenades like “Don’t Judge Me,” nostalgic Top 40 hits like “Toot It and Boot It” and “Saved,” and club bangers like “Blase” and “Only Right.” As if his acrobatic voice alone wasn’t enough to prove his versatility, during a particularly sweet, emotional point in the show, Dolla climbed to the top of his stage setup and delivered a bluesy guitar solo as couples swayed and girls screamed. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Superchunk-800x556.jpg\" alt=\"Superchunk plays at the Great American Music Hall as part of the 2018 Noise Pop festival.\" width=\"800\" height=\"556\" class=\"size-medium wp-image-13825617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-960x668.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk-520x362.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Superchunk.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Superchunk plays at the Great American Music Hall as part of the 2018 Noise Pop festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Superchunk Finding the Fountain of Youth in Political Dissent\u003c/h3>\n\u003cp>Superchunk was \u003cem>on their game\u003c/em> at the Great American Music Hall. As he pogoed, kicked, soloed, dragged the mic stand around, banged his head and shouted to the ceiling, frontman Mac McCaughan made his case as the Dick Clark of indie rock, just an ageless ball of energy. The set drew heavily from the band’s new album \u003cem>What a Time to Be Alive\u003c/em> — directed at the current administration and “this f—king disaster of a country,” as MacCaughan said — while including blasts from the Clinton era like “Detroit Has a Skyline” and “Water Wings.” Just when it couldn’t get any better, Waxahatchee’s Katie Crutchfield showed up for a gorgeous duet on “Erasure,” and then it got even \u003cem>better\u003c/em> after that, with fan favorites “Driveway to Driveway,” “Cast Iron,” “The First Part,” “Mower” and more. The whole thing had a unifying feel to it; as McCaughan said at one point, “People living in glorious cities like San Francisco have the right idea about how people from all cultures can exist together.” \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825292\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_7760-800x533.jpg\" alt=\"Shabazz Palaces plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7760-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shabazz Palaces plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Shabazz Palaces Beaming Their Audience into a Futuristic Dimension\u003c/h3>\n\u003cp>With distance, one often sees more clearly. On Feb. 21 at The Chapel, Shabazz Palaces and their disorienting, experimental hip-hop beamed the audience away from the terrestrial to get a better look at what is on the ground. Before the duo launched into “Gunbeat Falls,” a warning of “disturbing content ahead” flashed on screen, followed by clips of war, tanks, and missiles exploding in the sky. The song is a sprawling critique of capitalism and its ills — violence, imperialism, and ritualistic consumption. But like in the rest of their set, Ishmael Butler and Tendai Maraire weren’t employing their futuristic sensibilities to help the audience escape. Rather, they were patching in from their world to encourage attendees to reflect on the ugliness of our own. Still, in the end the song returned to why we were there in the first place, “the beat will always save us.” \u003cem>— Montse Reyes\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825529\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8785-800x533.jpg\" alt=\"Tune-Yards plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8785-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tune-Yards plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tune-Yards’ Merrill Garbus Commanding a Forceful Presence\u003c/h3>\n\u003cp>Tune-Yards’ Merrill Garbus just \u003cem>moves\u003c/em> with a visceral musicality. At the Fox Theater on Feb. 23, she sang with a deep, resonant confidence, commanding her loop pedals and sample pads as if they were extensions of her body. Accompanied by a bassist and drummer, she delivered a funkified set imbued with a deep groove that had the audience moving the entire time. On “Powa,” one of her earlier tracks, she even hit a chill-inducing, Mariah-worthy falsetto. The only detraction from the performance’s fluidity was Garbus’ \u003ca href=\"https://www.npr.org/sections/allsongs/2018/01/19/578822264/tune-yards-merrill-garbus-pierces-her-own-privilege\" target=\"_blank\" rel=\"noopener\">cringeworthy track about being white\u003c/a>, “Colonizer.” I wished she had given a shout out to Black Lives Matter — or said something in solidarity with the anti-racist movement — instead of subjecting the audience to its navel-gazing, Macklemore-esque self-inquiry. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "gallery",
"attributes": {
"named": {
"type": "slideshow",
"link": "file",
"ids": "13825278,13825589,13825593,13825581,13825573,13825572,13825570,13825566,13825551,13825543,13825542,13825530,13825516,13825515,13825439,13825433,13825423,13825538,13825428,13825418,13825291,13825296,13825290,13825287,13825285,13825276",
"orderby": "rand",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>Shamir Making Millennials Forget Their Generational Woes\u003c/h3>\n\u003cp>Shamir’s lo-fi guitar rock is as self-aware and incisive as it is dreamy and personal. In the middle of his Feb. 24 set at the Rickshaw Stop, the Las Vegas musician started into his cheeky ode to the ever-scrutinized millennials, “90s Kids.” \u003cem>We talk with vocal fry / We watch our futures die\u003c/em>, he sang in deceptively dulcet tones before railing against misconceptions of the generation, that millennials are “gross and vain,” cold, greedy, and dramatic. The audience, full of his peers, seemed to agree. They raised beer bottles and glasses for a toast in an endearing show of camaraderie. For now at least, any creeping dread about insurmountable student loans, living up to parental expectations, and making rent could be quelled by Shamir’s charm. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825616\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/DougMartsch-800x492.jpg\" alt=\"Doug Martsch plays the Swedish American Hall as part of the 2018 Noise Pop festival.\" width=\"800\" height=\"492\" class=\"size-medium wp-image-13825616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-800x492.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-1020x627.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-960x590.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch-520x320.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/DougMartsch.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Martsch plays the Swedish American Hall as part of the 2018 Noise Pop festival. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hearing a Pin Drop During Doug Martsch’s Solo Set\u003c/h3>\n\u003cp>Built to Spill had played \u003cem>Keep It Like a Secret\u003c/em> in its entirety to a sold-out Fillmore crowd the night before, but frontman Doug Martsch wasn’t done yet: his Feb. 21 solo acoustic set at the wood-paneled Swedish American Hall served as a nice afterglow. Along with folksy-bluesy numbers from his 2002 solo album \u003cem>Now You Know\u003c/em>, the show included Built to Spill favorites like “Big Dipper” and “Made-Up Dreams,” and the always-affable Martsch ended things with Wye Oak’s “Civilian,” performed with guest vocalist Kylee Swenson. Average Age of the Audience: 39. Most Common Place to See the Reflection of Overhead Lights: Doug Martsch’s balding crown. Relief in the Crowd That the Show Was Over Before 9:30pm: palpable. Chances That Indie Rock Will Age With Grace Instead of Entitlement and Crankiness: looking pretty good, actually. \u003cem>— GM\u003c/em>\u003c/p>\n\u003cdiv class=\"aligncenter\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/BfjSVjiBKxR/?taken-by=imaneurope"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/div>\n\u003ch3>Iman Europe Stealing the Show at Cornerstone\u003c/h3>\n\u003cp>On Feb. 22, Caleborate packed Berkeley’s Cornerstone — the newly remodeled former pool hall — for an intimate set, performing his latest and most introspective album, \u003cem>Real Person\u003c/em>, in full. Caleborate is a masterful lyricist who makes his personal experiences feel vivid and relatable just as easily as he surprises listeners with clever turns of phrase. While Caleborate was warm and engaging with the audience, shouting out family members in attendance and even a performing a duet with his brother, Cash Campaign, who opened for him earlier, his set of \u003cem>Real Person\u003c/em>’s deep reflections had the pensive mood of sitting at home and writing in a journal. Performing before Caleborate, L.A. rapper-singer Iman Europe stole the show with her upbeat stage presence, infectious smile, and voice — rich, smoky, and an acquired taste, like a cup of good espresso. Europe seduced listeners with sexy R&B and then stopped them in their tracks with an a cappella freestyle, ending her set with “Oakland,” an homage to her favorite East Bay city. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13825429\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825429\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/MG_8438-800x533.jpg\" alt=\"Jay Som plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_8438-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jay Som plays the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jay Som Recreating the Comfort and Solitude of Our Bedrooms\u003c/h3>\n\u003cp>There are few spaces as quiet and sacred as one’s bedroom. At Gray Area on Feb. 22, openers lo-fi indie rockers Hand Habits brought the tender solitude a bedroom offers when one needs space to unravel. With Michelle Zauner of Japanese Breakfast’s sprightly energy, the stuccoed venue became an unfettered playground, the way your bedroom brings the comfort to exist without judgement. And the quiet, crushing vulnerability of Jay Som’s set brought to mind the way our bedrooms function like a museum of our lives — full of relics, secrets and baubles tied to distinct memories, both sweet and sad. \u003cem>— MR\u003c/em>\u003c/p>\n\u003cdiv class=\"aligncenter\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/BflslTmFo7m/?hl=en&taken-by=cirrus_oxide"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/div>\n\u003ch3>Chuck Johnson, on Lap Steel, Putting Listeners in a Trance\u003c/h3>\n\u003cp>On Feb. 21 at Oakland’s Starline Social Club, Portland rockers Grails delivered an all-instrumental, guitar-driven set that was dark, psychedelic, and even a little funky, in the vein of Roger Waters’ playing on Pink Floyd’s \u003cem>The Wall\u003c/em>. But their stoic, bespectacled opener, Chuck Johnson, had the audience transfixed without so much as saying a single word on stage. At first, it was unclear what Johnson was doing when he gently tapped the strings of his lap steel and activated several delay and loop pedals. But as he created a cloud of shimmering reverb, he began to play a swaying, wistful melody that recalled the glitter of twinkling stars in a desert sky. It was a single composition from start to finish, and listeners were entranced. \u003cem>— NV\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13825462/everything-we-loved-at-noise-pop-2018",
"authors": [
"11387"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_21788",
"arts_1022",
"arts_596",
"arts_769",
"arts_1584"
],
"featImg": "arts_13825623",
"label": "arts"
},
"arts_13819786": {
"type": "posts",
"id": "arts_13819786",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13819786",
"score": null,
"sort": [
1516809605000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1516809605,
"format": "audio",
"title": "Mixtape: Bay Area Musicians to Watch in 2018",
"headTitle": "Mixtape: Bay Area Musicians to Watch in 2018 | KQED",
"content": "\u003cp>The many challenges of 2017 didn’t magically disappear when the year ended, but one bright spot in 2018 is the wealth of emerging Bay Area musicians poised for big breaks. This mix showcases 14 local artists to watch in the coming months, highlighting a variety of genres including hip-hop, electronic pop, folk, and punk.\u003c/p>\n\u003cp>Several of the acts included here released acclaimed projects in 2017. \u003ca href=\"https://www.facebook.com/rosedrollmusic/\" target=\"_blank\" rel=\"noopener\">Rose Droll’s\u003c/a> debut EP, \u003cem>Photograph\u003c/em>, introduced an extremely talented singer-songwriter who had, for years, accumulated countless home recordings but only recently began performing live. \u003ca href=\"https://www.facebook.com/madisipesmusic\" target=\"_blank\" rel=\"noopener\">Madi Sipes & The Painted Blue\u003c/a> are getting ready to release a second EP. (Last year’s \u003cem>Sex & Sadness\u003c/em> received an endorsement from Elton John on his radio show.) Oakland rapper \u003ca href=\"https://soundcloud.com/whoisallblack\" target=\"_blank\" rel=\"noopener\">ALLBLACK\u003c/a> had a similarly accomplished 2017, capped by the launch of the \u003cem>KimSon\u003c/em> EP in October and a nomination for “Rookie of the Year” by \u003ca href=\"http://www.thizzler.com/\">Thizzler\u003c/a>.\u003c/p>\n\u003cp>The mix also showcases several exciting, newer projects from great long-time Bay Area musicians. \u003ca href=\"https://www.facebook.com/curlstheband/\" target=\"_blank\" rel=\"noopener\">Curls\u003c/a> was originally a studio collaboration to support the latest solo recordings of Christopher Owens of Girls, but they eventually emerged as a real band. \u003ca href=\"https://www.facebook.com/lapelsings/\" target=\"_blank\" rel=\"noopener\">Lapel\u003c/a> finds local singer-songwriter Debbie Neigher moving away from folk and rock influences, instead exploring a new sound mixing by electronic pop and R&B. And while you might not yet be familiar with the intense post-punk of \u003ca href=\"https://www.facebook.com/alifeofnone/\" target=\"_blank\" rel=\"noopener\">Fearing\u003c/a> or the thrashy hardcore of \u003ca href=\"https://primalrite.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Primal Rite\u003c/a>, these bands draw talented members from local bands Creative Adult and Scalped, respectively.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 14 artists.\u003c/p>\n\u003ch2>Tracklist\u003c/h2>\n\u003cp>\u003ca href=\"https://www.facebook.com/rosedrollmusic/\" target=\"_blank\" rel=\"noopener\">Rose Droll\u003c/a>, “A Change in Weather”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/curlstheband/\" target=\"_blank\" rel=\"noopener\">Curls\u003c/a>, “Emotion”\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/rickylakes\" target=\"_blank\" rel=\"noopener\">Ricky Lake\u003c/a>, “Wino”\u003c/p>\n\u003cp>\u003ca href=\"https://spiritualcramp.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Spiritual Cramp\u003c/a>, “All My Friends Are Out Tonight (Alright)”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ismaymusic/\" target=\"_blank\" rel=\"noopener\">Ismay\u003c/a>, “River of Light (Through the Inland Empire)”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/rememberkarenband\" target=\"_blank\" rel=\"noopener\">Remember Karen\u003c/a>, “Afternoon Waking Life”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/madisipesmusic\" target=\"_blank\" rel=\"noopener\">Madi Sipes & The Painted Blue\u003c/a>, “Sex & Sadness”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/JustRese\" target=\"_blank\" rel=\"noopener\">Just Rese\u003c/a>, “Fluffy Pink Lights”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/alifeofnone/\" target=\"_blank\" rel=\"noopener\">Fearing\u003c/a>, “Black Sand”\u003c/p>\n\u003cp>\u003ca href=\"https://primalrite.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Primal Rite\u003c/a>, “Demon”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/lapelsings/\" target=\"_blank\" rel=\"noopener\">Lapel\u003c/a>, “Less of a Woman”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thesaxophones\" target=\"_blank\" rel=\"noopener\">The Saxophones\u003c/a>, “If You’re On The Water”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/cryderman.band/\" target=\"_blank\" rel=\"noopener\">Cryderman\u003c/a>, “Albatross”\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/whoisallblack\" target=\"_blank\" rel=\"noopener\">ALLBLACK\u003c/a>, “Change The Gloves”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 375,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1705028714,
"excerpt": "A playlist of promising new talent in hip-hop, electronic pop, folk, and punk.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A playlist of promising new talent in hip-hop, electronic pop, folk, and punk.",
"title": "Mixtape: Bay Area Musicians to Watch in 2018 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Mixtape: Bay Area Musicians to Watch in 2018",
"datePublished": "2018-01-24T08:00:05-08:00",
"dateModified": "2024-01-11T19:05:14-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mixtape-bay-area-musicians-to-watch-in-2018",
"status": "publish",
"audioUrl": "http://media.libsyn.com/media/thebaybridged/Musicians_to_Watch_2018.mp3",
"sticky": false,
"path": "/arts/13819786/mixtape-bay-area-musicians-to-watch-in-2018",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The many challenges of 2017 didn’t magically disappear when the year ended, but one bright spot in 2018 is the wealth of emerging Bay Area musicians poised for big breaks. This mix showcases 14 local artists to watch in the coming months, highlighting a variety of genres including hip-hop, electronic pop, folk, and punk.\u003c/p>\n\u003cp>Several of the acts included here released acclaimed projects in 2017. \u003ca href=\"https://www.facebook.com/rosedrollmusic/\" target=\"_blank\" rel=\"noopener\">Rose Droll’s\u003c/a> debut EP, \u003cem>Photograph\u003c/em>, introduced an extremely talented singer-songwriter who had, for years, accumulated countless home recordings but only recently began performing live. \u003ca href=\"https://www.facebook.com/madisipesmusic\" target=\"_blank\" rel=\"noopener\">Madi Sipes & The Painted Blue\u003c/a> are getting ready to release a second EP. (Last year’s \u003cem>Sex & Sadness\u003c/em> received an endorsement from Elton John on his radio show.) Oakland rapper \u003ca href=\"https://soundcloud.com/whoisallblack\" target=\"_blank\" rel=\"noopener\">ALLBLACK\u003c/a> had a similarly accomplished 2017, capped by the launch of the \u003cem>KimSon\u003c/em> EP in October and a nomination for “Rookie of the Year” by \u003ca href=\"http://www.thizzler.com/\">Thizzler\u003c/a>.\u003c/p>\n\u003cp>The mix also showcases several exciting, newer projects from great long-time Bay Area musicians. \u003ca href=\"https://www.facebook.com/curlstheband/\" target=\"_blank\" rel=\"noopener\">Curls\u003c/a> was originally a studio collaboration to support the latest solo recordings of Christopher Owens of Girls, but they eventually emerged as a real band. \u003ca href=\"https://www.facebook.com/lapelsings/\" target=\"_blank\" rel=\"noopener\">Lapel\u003c/a> finds local singer-songwriter Debbie Neigher moving away from folk and rock influences, instead exploring a new sound mixing by electronic pop and R&B. And while you might not yet be familiar with the intense post-punk of \u003ca href=\"https://www.facebook.com/alifeofnone/\" target=\"_blank\" rel=\"noopener\">Fearing\u003c/a> or the thrashy hardcore of \u003ca href=\"https://primalrite.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Primal Rite\u003c/a>, these bands draw talented members from local bands Creative Adult and Scalped, respectively.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 14 artists.\u003c/p>\n\u003ch2>Tracklist\u003c/h2>\n\u003cp>\u003ca href=\"https://www.facebook.com/rosedrollmusic/\" target=\"_blank\" rel=\"noopener\">Rose Droll\u003c/a>, “A Change in Weather”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/curlstheband/\" target=\"_blank\" rel=\"noopener\">Curls\u003c/a>, “Emotion”\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/rickylakes\" target=\"_blank\" rel=\"noopener\">Ricky Lake\u003c/a>, “Wino”\u003c/p>\n\u003cp>\u003ca href=\"https://spiritualcramp.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Spiritual Cramp\u003c/a>, “All My Friends Are Out Tonight (Alright)”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ismaymusic/\" target=\"_blank\" rel=\"noopener\">Ismay\u003c/a>, “River of Light (Through the Inland Empire)”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/rememberkarenband\" target=\"_blank\" rel=\"noopener\">Remember Karen\u003c/a>, “Afternoon Waking Life”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/madisipesmusic\" target=\"_blank\" rel=\"noopener\">Madi Sipes & The Painted Blue\u003c/a>, “Sex & Sadness”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/JustRese\" target=\"_blank\" rel=\"noopener\">Just Rese\u003c/a>, “Fluffy Pink Lights”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/alifeofnone/\" target=\"_blank\" rel=\"noopener\">Fearing\u003c/a>, “Black Sand”\u003c/p>\n\u003cp>\u003ca href=\"https://primalrite.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Primal Rite\u003c/a>, “Demon”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/lapelsings/\" target=\"_blank\" rel=\"noopener\">Lapel\u003c/a>, “Less of a Woman”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thesaxophones\" target=\"_blank\" rel=\"noopener\">The Saxophones\u003c/a>, “If You’re On The Water”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/cryderman.band/\" target=\"_blank\" rel=\"noopener\">Cryderman\u003c/a>, “Albatross”\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/whoisallblack\" target=\"_blank\" rel=\"noopener\">ALLBLACK\u003c/a>, “Change The Gloves”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13819786/mixtape-bay-area-musicians-to-watch-in-2018",
"authors": [
"178"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_21788",
"arts_596"
],
"featImg": "arts_13819787",
"label": "arts"
},
"arts_13818446": {
"type": "posts",
"id": "arts_13818446",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13818446",
"score": null,
"sort": [
1515028106000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1515028106,
"format": "image",
"title": "Coachella Lineup May Point To A Shifting Middle",
"headTitle": "Coachella Lineup May Point To A Shifting Middle | KQED",
"content": "\u003cp>The official lineup for this year’s\u003ca href=\"https://www.coachella.com/lineup/\"> Coachella Valley Music and Arts Festival\u003c/a>, taking place April 13-15 and 20-22, has arrived.\u003c/p>\n\u003cp>After an annual game of\u003ca href=\"https://hypebeast.com/2017/12/beyonce-the-weeknd-eminem-coachella-headline-2018\"> speculation\u003c/a>, the festival’s parent company Goldenvoice made its announcement last night, confirming (as rumored) that \u003ca href=\"https://www.npr.org/artists/135036318/the-weeknd\">The Weeknd\u003c/a>, \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyonce\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15404635/eminem\">Eminem\u003c/a> will headline each of its respective three nights.\u003c/p>\n\u003cp>The festival, one of the world’s most successful, is often looked to for evidence of emerging trends in music’s mainstream. Comparing its flyers in years past (always the subject of font-size analysis and \u003ca href=\"https://www.billboard.com/articles/business/6458238/band-names-font-sizes-music-festival-posters-artists\">behind-the-scenes power brokering\u003c/a> over it) to this edition, rap and hip-hop have clearly risen to the top of pop culture. Contrasting Coachella’s lineup 10 years ago — with Jack Johnson, Prince and Roger Waters headlining — 2018’s seems to show, at least in its top billings, rap and R&B taking over the center of the landscape. But also, further down in the font sizing, its bookings of Princess Nokia, Jidenna, Moses Sumney, Kamaiyah, Aminé, DeJ Loaf and producer TroyBoi.\u003c/p>\n\u003cp>There is an important first this year, too: Beyonce’s performance on Saturday marks the first time that a black woman will headline. The superstar was supposed to headline the festival last year, but had to pull out of the slot after becoming pregnant, and was later \u003ca href=\"https://www.npr.org/sections/therecord/2017/03/01/517908059/lady-gaga-replaces-beyonc-at-coachella\">replaced by Lady Gaga\u003c/a>. This year’s April dates will also be Beyonce’s first performance since giving birth to her twins in June 2017.\u003c/p>\n\u003cp>[contextly_sidebar id=”79oXVmZwflNIO6aIMLgO6FLujd5GvFQe”]\u003c/p>\n\u003cp>Though Eminem hasn’t performed on the Coachella stage since his 2012 appearance with Dr. Dre, the \u003ca href=\"https://www.governorsballmusicfestival.com/lineup/\">2018 Governor’s Ball lineup\u003c/a> announcement today is a clear inkling that the diamond-selling Detroit rapper will be hitting the festival circuit hard this summer in support of his recent album \u003ca href=\"https://www.npr.org/2017/12/16/571171947/i-speak-to-everybody-who-is-even-remotely-like-me-eminem-on-revival\">\u003cem>Revival\u003c/em>\u003c/a>. (Other duplicate bookings include Tash Sultana, 6lack, Kali Uchis, Vance Joy, Russ, BROCKHAMPTON, Aminé and Moses Sumney.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In terms of first-timers, the musical spectrum seems broader than ever. New Orleans funk band and 2017 \u003ca href=\"https://www.npr.org/artists/517688972/tank-and-the-bangas\">Tiny Desk Contest winners\u003c/a> Tank and The Bangas will be making its first appearance at the fest this year. After a seven-year hiatus, ’90s era electro-soul star Jamiroquai has been striking a comeback path through the festival circuit over the past year, though this will be his first performance at the festival. And there are nine bubbling Latin acts on the lineup: Los Angeles Azules, Ibeyi, Cuco, Helado Negro, Kali Uchis, Princess Nokia, The Marias and Señor Kino.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Passes for Coachella 2018 go on sale via the \u003ca href=\"https://www.coachella.com/\">festival website\u003c/a> Friday, Jan. 5 at 12:00 PM PST.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Coachella+Lineup+May+Point+To+A+Shifting+Middle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 469,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705028836,
"excerpt": "Toronto R&B star The Weeknd, Eminem and Beyonce will headline the April music festival, one of the world's largest. But its bookings also point to a shifting mainstream.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Toronto R&B star The Weeknd, Eminem and Beyonce will headline the April music festival, one of the world's largest. But its bookings also point to a shifting mainstream.",
"title": "Coachella Lineup May Point To A Shifting Middle | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Coachella Lineup May Point To A Shifting Middle",
"datePublished": "2018-01-03T17:08:26-08:00",
"dateModified": "2024-01-11T19:07:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "coachella-lineup-may-point-to-a-shifting-middle",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=575284902&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Sidney Madden",
"nprStoryDate": "Wed, 03 Jan 2018 11:44:00 -0500",
"nprLastModifiedDate": "Wed, 03 Jan 2018 11:46:39 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/therecord/2018/01/03/575284902/coachella-lineup-may-point-to-a-shifting-middle?ft=nprml&f=575284902",
"nprImageAgency": "Getty Images",
"nprImageCredit": "SUZANNE CORDEIRO",
"nprStoryId": "575284902",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 03 Jan 2018 11:46:00 -0500",
"path": "/arts/13818446/coachella-lineup-may-point-to-a-shifting-middle",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The official lineup for this year’s\u003ca href=\"https://www.coachella.com/lineup/\"> Coachella Valley Music and Arts Festival\u003c/a>, taking place April 13-15 and 20-22, has arrived.\u003c/p>\n\u003cp>After an annual game of\u003ca href=\"https://hypebeast.com/2017/12/beyonce-the-weeknd-eminem-coachella-headline-2018\"> speculation\u003c/a>, the festival’s parent company Goldenvoice made its announcement last night, confirming (as rumored) that \u003ca href=\"https://www.npr.org/artists/135036318/the-weeknd\">The Weeknd\u003c/a>, \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyonce\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15404635/eminem\">Eminem\u003c/a> will headline each of its respective three nights.\u003c/p>\n\u003cp>The festival, one of the world’s most successful, is often looked to for evidence of emerging trends in music’s mainstream. Comparing its flyers in years past (always the subject of font-size analysis and \u003ca href=\"https://www.billboard.com/articles/business/6458238/band-names-font-sizes-music-festival-posters-artists\">behind-the-scenes power brokering\u003c/a> over it) to this edition, rap and hip-hop have clearly risen to the top of pop culture. Contrasting Coachella’s lineup 10 years ago — with Jack Johnson, Prince and Roger Waters headlining — 2018’s seems to show, at least in its top billings, rap and R&B taking over the center of the landscape. But also, further down in the font sizing, its bookings of Princess Nokia, Jidenna, Moses Sumney, Kamaiyah, Aminé, DeJ Loaf and producer TroyBoi.\u003c/p>\n\u003cp>There is an important first this year, too: Beyonce’s performance on Saturday marks the first time that a black woman will headline. The superstar was supposed to headline the festival last year, but had to pull out of the slot after becoming pregnant, and was later \u003ca href=\"https://www.npr.org/sections/therecord/2017/03/01/517908059/lady-gaga-replaces-beyonc-at-coachella\">replaced by Lady Gaga\u003c/a>. This year’s April dates will also be Beyonce’s first performance since giving birth to her twins in June 2017.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though Eminem hasn’t performed on the Coachella stage since his 2012 appearance with Dr. Dre, the \u003ca href=\"https://www.governorsballmusicfestival.com/lineup/\">2018 Governor’s Ball lineup\u003c/a> announcement today is a clear inkling that the diamond-selling Detroit rapper will be hitting the festival circuit hard this summer in support of his recent album \u003ca href=\"https://www.npr.org/2017/12/16/571171947/i-speak-to-everybody-who-is-even-remotely-like-me-eminem-on-revival\">\u003cem>Revival\u003c/em>\u003c/a>. (Other duplicate bookings include Tash Sultana, 6lack, Kali Uchis, Vance Joy, Russ, BROCKHAMPTON, Aminé and Moses Sumney.)\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>In terms of first-timers, the musical spectrum seems broader than ever. New Orleans funk band and 2017 \u003ca href=\"https://www.npr.org/artists/517688972/tank-and-the-bangas\">Tiny Desk Contest winners\u003c/a> Tank and The Bangas will be making its first appearance at the fest this year. After a seven-year hiatus, ’90s era electro-soul star Jamiroquai has been striking a comeback path through the festival circuit over the past year, though this will be his first performance at the festival. And there are nine bubbling Latin acts on the lineup: Los Angeles Azules, Ibeyi, Cuco, Helado Negro, Kali Uchis, Princess Nokia, The Marias and Señor Kino.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Passes for Coachella 2018 go on sale via the \u003ca href=\"https://www.coachella.com/\">festival website\u003c/a> Friday, Jan. 5 at 12:00 PM PST.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Coachella+Lineup+May+Point+To+A+Shifting+Middle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13818446/coachella-lineup-may-point-to-a-shifting-middle",
"authors": [
"byline_arts_13818446"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1686",
"arts_3516",
"arts_1118",
"arts_831",
"arts_21788",
"arts_1558"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13818447",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGeneralEl2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=indie-rock": {
"isFetching": false,
"latestQuery": {
"from": 48,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 74,
"relation": "eq"
},
"items": [
"arts_13839604",
"arts_13839171",
"arts_13838966",
"arts_13834539",
"arts_13833347",
"arts_13833343",
"arts_13831729",
"arts_13830717",
"arts_13826724",
"arts_13825462",
"arts_13819786",
"arts_13818446"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_tag_indie-rock": {
"isLoading": true
},
"arts_21788": {
"type": "terms",
"id": "arts_21788",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21788",
"found": true
},
"relationships": {},
"featImg": null,
"name": "indie rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "indie rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21800,
"slug": "indie-rock",
"isLoading": false,
"link": "/arts/tag/indie-rock"
},
"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_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_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_4544": {
"type": "terms",
"id": "arts_4544",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4544",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Housing",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Housing Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4556,
"slug": "housing",
"isLoading": false,
"link": "/arts/tag/housing"
},
"arts_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"arts_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_3823": {
"type": "terms",
"id": "arts_3823",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3823",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Shannon and the Clams",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Shannon and the Clams Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3835,
"slug": "shannon-and-the-clams",
"isLoading": false,
"link": "/arts/tag/shannon-and-the-clams"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_1867": {
"type": "terms",
"id": "arts_1867",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1867",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Clusterfest",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Clusterfest Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1879,
"slug": "clusterfest",
"isLoading": false,
"link": "/arts/tag/clusterfest"
},
"arts_549": {
"type": "terms",
"id": "arts_549",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "549",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 550,
"slug": "comedy",
"isLoading": false,
"link": "/arts/tag/comedy"
},
"arts_1501": {
"type": "terms",
"id": "arts_1501",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1501",
"found": true
},
"relationships": {},
"featImg": null,
"name": "electronic music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "electronic music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1513,
"slug": "electronic-music",
"isLoading": false,
"link": "/arts/tag/electronic-music"
},
"arts_1381": {
"type": "terms",
"id": "arts_1381",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1381",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SFMOMA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SFMOMA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1393,
"slug": "sfmoma",
"isLoading": false,
"link": "/arts/tag/sfmoma"
},
"arts_626": {
"type": "terms",
"id": "arts_626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 634,
"slug": "the-do-list-featured",
"isLoading": false,
"link": "/arts/tag/the-do-list-featured"
},
"arts_699": {
"type": "terms",
"id": "arts_699",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "699",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 710,
"slug": "thedolist-featured",
"isLoading": false,
"link": "/arts/tag/thedolist-featured"
},
"arts_901": {
"type": "terms",
"id": "arts_901",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "901",
"found": true
},
"relationships": {},
"featImg": null,
"name": "visual art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "visual art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 919,
"slug": "visual-art",
"isLoading": false,
"link": "/arts/tag/visual-art"
},
"arts_1040": {
"type": "terms",
"id": "arts_1040",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1040",
"found": true
},
"relationships": {},
"featImg": null,
"name": "YBCA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "YBCA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1057,
"slug": "ybca",
"isLoading": false,
"link": "/arts/tag/ybca"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_1084": {
"type": "terms",
"id": "arts_1084",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1084",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Jose",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Jose Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1101,
"slug": "san-jose",
"isLoading": false,
"link": "/arts/tag/san-jose"
},
"arts_2102": {
"type": "terms",
"id": "arts_2102",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2102",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the ritz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the ritz Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2114,
"slug": "the-ritz",
"isLoading": false,
"link": "/arts/tag/the-ritz"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_4773": {
"type": "terms",
"id": "arts_4773",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4773",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mental health",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mental health Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4785,
"slug": "mental-health",
"isLoading": false,
"link": "/arts/tag/mental-health"
},
"arts_2636": {
"type": "terms",
"id": "arts_2636",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2636",
"found": true
},
"relationships": {},
"featImg": null,
"name": "painting",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "painting Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2648,
"slug": "painting",
"isLoading": false,
"link": "/arts/tag/painting"
},
"arts_973": {
"type": "terms",
"id": "arts_973",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "973",
"found": true
},
"relationships": {},
"featImg": null,
"name": "science",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "science Archives | KQED Arts",
"ogDescription": null
},
"ttid": 991,
"slug": "science",
"isLoading": false,
"link": "/arts/tag/science"
},
"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_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_2151": {
"type": "terms",
"id": "arts_2151",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2151",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Los Rakas",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Los Rakas Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2163,
"slug": "los-rakas",
"isLoading": false,
"link": "/arts/tag/los-rakas"
},
"arts_1448": {
"type": "terms",
"id": "arts_1448",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1448",
"found": true
},
"relationships": {},
"featImg": null,
"name": "art wire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "art wire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1460,
"slug": "art-wire",
"isLoading": false,
"link": "/arts/tag/art-wire"
},
"arts_1022": {
"type": "terms",
"id": "arts_1022",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1022",
"found": true
},
"relationships": {},
"featImg": null,
"name": "noise pop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "noise pop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1039,
"slug": "noise-pop",
"isLoading": false,
"link": "/arts/tag/noise-pop"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_1584": {
"type": "terms",
"id": "arts_1584",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1584",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tune-yards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tune-yards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1596,
"slug": "tune-yards",
"isLoading": false,
"link": "/arts/tag/tune-yards"
},
"arts_1686": {
"type": "terms",
"id": "arts_1686",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1686",
"found": true
},
"relationships": {},
"featImg": null,
"name": "beyonce",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "beyonce Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1698,
"slug": "beyonce",
"isLoading": false,
"link": "/arts/tag/beyonce"
},
"arts_3516": {
"type": "terms",
"id": "arts_3516",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3516",
"found": true
},
"relationships": {},
"featImg": null,
"name": "coachella",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "coachella Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3528,
"slug": "coachella",
"isLoading": false,
"link": "/arts/tag/coachella"
},
"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_1558": {
"type": "terms",
"id": "arts_1558",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1558",
"found": true
},
"relationships": {},
"featImg": null,
"name": "kamaiyah",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "kamaiyah Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1570,
"slug": "kamaiyah",
"isLoading": false,
"link": "/arts/tag/kamaiyah"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}
