Five Top-Tier Bay Area Rappers Unite Under ‘1 Umbrella’
A New Art Installation Celebrates Oscar Grant’s 40th Birthday
The ‘I Love Boosters’ Trailer Is Here and It’s as Wild as You’d Expect
How Oakland’s Most Famous Jazz Club Became a Hotspot for Hip-Hop
Music and All That Jazz at This Year’s Noir City Film Festival
Mosswood Lineup Announced: Iggy Pop, Bikini Kill, Dead Milkmen, Otoboke Beaver, More
Pavement to Play Mosswood Meltdown 2026 in Oakland
'Can I Get A Witness?' Open Mic Creates Community Through Commentary
Oakland Will Get a New Cultural Affairs Manager In 2026
Sponsored
Player sponsored by
window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13986382": {
"type": "attachments",
"id": "arts_13986382",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13986382",
"found": true
},
"title": "1 Umbrella",
"publishDate": 1770337919,
"status": "inherit",
"parent": 13986328,
"modified": 1770338011,
"caption": "22nd Jim, Lil Bean, Lil Yee, Zaybang and ALLBLACK combine to make the Bay Area rap supergroup, 1 Umbrella. ",
"credit": "Brandon Robinson",
"altTag": "Five men African-American standing shoulder to shoulder in a music studio pose for a photo.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06350-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06350-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06350-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06350-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06350-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06350-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06350.jpg",
"width": 2000,
"height": 1333
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985997": {
"type": "attachments",
"id": "arts_13985997",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985997",
"found": true
},
"title": "WandaJohnson.CROP",
"publishDate": 1769716065,
"status": "inherit",
"parent": 13985813,
"modified": 1769730432,
"caption": "Rev. Wanda Johnson, mother of the late Oscar Grant. ",
"credit": "Mohammad Gorjestani",
"altTag": "An African American woman wearing glasses and a leather jacket stands at a phone booth holding a phone and looking into the distance.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/WandaJohnson.CROP_-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/WandaJohnson.CROP_-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/WandaJohnson.CROP_-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/WandaJohnson.CROP_-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/WandaJohnson.CROP_-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/WandaJohnson.CROP_-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/WandaJohnson.CROP_.jpg",
"width": 2000,
"height": 1333
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985869": {
"type": "attachments",
"id": "arts_13985869",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985869",
"found": true
},
"title": "Screenshot-2026-01-27-at-10.37.36 AM",
"publishDate": 1769539189,
"status": "inherit",
"parent": 13985867,
"modified": 1769539275,
"caption": "Keke Palmer in the trailer for Boots Riley's film ‘I Love Boosters.’",
"credit": "Neon",
"altTag": "A Black woman standing inside a convenience store in a white collared shirt looks in the distance with a scared look on her face",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Screenshot-2026-01-27-at-10.37.36 AM-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Screenshot-2026-01-27-at-10.37.36 AM-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Screenshot-2026-01-27-at-10.37.36 AM-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Screenshot-2026-01-27-at-10.37.36 AM-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Screenshot-2026-01-27-at-10.37.36 AM-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Screenshot-2026-01-27-at-10.37.36 AM-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Screenshot-2026-01-27-at-10.37.36 AM.jpg",
"width": 2000,
"height": 1125
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985282": {
"type": "attachments",
"id": "arts_13985282",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985282",
"found": true
},
"title": "260108-yoshishiphopshows00586_TV_qed",
"publishDate": 1768005839,
"status": "inherit",
"parent": 0,
"modified": 1769030288,
"caption": "Spice 1 performs at Yoshi’s in Oakland on January 8, 2026. Yoshi’s, a historically known jazz venue, has recently hosted more and more rap artists, often appearing with a live band.",
"credit": "Tâm Vũ / KQED",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00586_TV_qed-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00586_TV_qed-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00586_TV_qed-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00586_TV_qed-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00586_TV_qed-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00586_TV_qed-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00586_TV_qed.jpg",
"width": 2000,
"height": 1333
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985508": {
"type": "attachments",
"id": "arts_13985508",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985508",
"found": true
},
"title": "Noir.AManCalledAdam.2",
"publishDate": 1768519078,
"status": "inherit",
"parent": 13985320,
"modified": 1768519179,
"caption": "Sammy Davis Jr. in ‘A Man Called Adam,’ part of this year's Noir City film festival in Oakland.",
"credit": "Embassy Pictures",
"altTag": "A slendar Black man sings into a microphone, flanked by a bassist and trombonist, while holding a cornet in a black and white image.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.AManCalledAdam.2-160x120.jpg",
"width": 160,
"height": 120,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.AManCalledAdam.2-768x574.jpg",
"width": 768,
"height": 574,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.AManCalledAdam.2-1536x1149.jpg",
"width": 1536,
"height": 1149,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.AManCalledAdam.2-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.AManCalledAdam.2-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.AManCalledAdam.2-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.AManCalledAdam.2.jpg",
"width": 2000,
"height": 1496
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985445": {
"type": "attachments",
"id": "arts_13985445",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985445",
"found": true
},
"title": "MosswoodMeltdown2026",
"publishDate": 1768461844,
"status": "inherit",
"parent": 13985442,
"modified": 1768461994,
"caption": "(L–R) Kathleen Hanna performing with Bikini Kill in 2024 in London; Iggy Pop performing in 2025 in Madrid. ",
"credit": "Lorne Thomson/Redferns; Ricardo Rubio/Europa Press via Getty Images",
"altTag": "A woman in a green sequined top and hair done up sings into a microphone, looking to the left, while in a separate image, a man with no shirt raises his arms while facing right",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MosswoodMeltdown2026-2000x1333.jpg",
"width": 2000,
"height": 1333,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MosswoodMeltdown2026-2000x1333.jpg",
"width": 2000,
"height": 1333,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MosswoodMeltdown2026-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MosswoodMeltdown2026-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MosswoodMeltdown2026-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MosswoodMeltdown2026-2048x1365.jpg",
"width": 2048,
"height": 1365,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MosswoodMeltdown2026-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MosswoodMeltdown2026-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MosswoodMeltdown2026-2000x1333.jpg",
"width": 2000,
"height": 1333,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MosswoodMeltdown2026-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/MosswoodMeltdown2026-scaled.jpg",
"width": 2560,
"height": 1707
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13985126": {
"type": "attachments",
"id": "arts_13985126",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13985126",
"found": true
},
"title": "Pavement-by-Pooneh-Ghana",
"publishDate": 1767719397,
"status": "inherit",
"parent": 13985125,
"modified": 1767719518,
"caption": "Pavement, founded in Stockton, will perform in Oakland's Mosswood Park in July. ",
"credit": "Pooneh Ghana",
"altTag": "Six people in casual wear stand in a line in a concrete and asphalt structure at night",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pavement-by-Pooneh-Ghana-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pavement-by-Pooneh-Ghana-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pavement-by-Pooneh-Ghana-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pavement-by-Pooneh-Ghana-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pavement-by-Pooneh-Ghana-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pavement-by-Pooneh-Ghana-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Pavement-by-Pooneh-Ghana.jpg",
"width": 2000,
"height": 1333
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13984796": {
"type": "attachments",
"id": "arts_13984796",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13984796",
"found": true
},
"title": "Deborah M.",
"publishDate": 1765482183,
"status": "inherit",
"parent": 13984739,
"modified": 1765489582,
"caption": "Poet Deborah Marie has performed all around Northern California. Now she hosts her own event series in Oakland called Can I Get A Witness?",
"credit": "Lara Kaur",
"altTag": "An African-American woman poses for a photo in front of a pink background, she's wearing a white and yellow top with a khaki skirt.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-M.--scaled-e1765482649325-160x154.jpg",
"width": 160,
"height": 154,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-M.--scaled-e1765482649325-768x737.jpg",
"width": 768,
"height": 737,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-M.--scaled-e1765482649325-1536x1474.jpg",
"width": 1536,
"height": 1474,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-M.--1365x2048.jpg",
"width": 1365,
"height": 2048,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-M.--scaled-e1765482649325-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-M.--scaled-e1765482649325-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-M.--scaled-e1765482649325-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-M.--scaled-e1765482649325.jpg",
"width": 1707,
"height": 1638
}
},
"fetchFailed": false,
"isLoading": false
},
"arts_13978247": {
"type": "attachments",
"id": "arts_13978247",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13978247",
"found": true
},
"title": "250701-OAKLAND ARTS FUNDING PROTEST-MD-04-KQED",
"publishDate": 1751484246,
"status": "inherit",
"parent": 0,
"modified": 1751489648,
"caption": "Raquel Iglesias (center) attends a rally outside of Oakland City Hall protesting the elimination of the Cultural Affairs Manager position from the city budget on July 1, 2025.",
"credit": "Martin do Nascimento/KQED",
"altTag": null,
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED.jpg",
"width": 2000,
"height": 1334
}
},
"fetchFailed": false,
"isLoading": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false
},
"authorsReducer": {
"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/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter and editor at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She holds a BA in comparative literature from UC Berkeley.",
"avatar": "https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
}
},
"breakingNewsReducer": {},
"pagesReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13986328": {
"type": "posts",
"id": "arts_13986328",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13986328",
"score": null,
"sort": [
1770407987000
]
},
"guestAuthors": [],
"slug": "1-umbrella-bay-area-rap-allblack-22ndjim-zaybang-lil-yee-lil-bean",
"title": "Five Top-Tier Bay Area Rappers Unite Under ‘1 Umbrella’",
"publishDate": 1770407987,
"format": "standard",
"headTitle": "Five Top-Tier Bay Area Rappers Unite Under ‘1 Umbrella’ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It’s a Thursday night in late January, and the members of the newly formed rap supergroup 1 Umbrella are scattered around an \u003ca href=\"https://www.empi.re/\">EMPIRE\u003c/a> recording studio in San Francisco.\u003c/p>\n\u003cp>Cameras and lights are mounted in one room. A TV showing a basketball game is on nearby. The crew is in that limbo native to recording studios: both working hard and somehow simultaneously chilling.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/22ndjim/\">22nd Jim\u003c/a> shakes my hand, casually walking past en route to change his outfit. Out back, \u003ca href=\"https://www.instagram.com/whoisallblack/\">ALLBLACK\u003c/a> gives me a big dap and a hug near people rolling Backwoods. Back inside, behind the bar, \u003ca href=\"https://www.instagram.com/zaybang/\">Zaybang\u003c/a> mixes a pitcher filled with Sprite and a few other liquids. I congratulate \u003ca href=\"https://www.instagram.com/yee/\">Lil Yee\u003c/a> on his latest solo project, \u003cem>LIFE AFTER DEATH\u003c/em>, inspired by surviving a recent shooting.\u003c/p>\n\u003cfigure id=\"attachment_13986383\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986383\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216.jpg\" alt=\"Six African American men sit in a circle while holding a conversation in a music studio \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Pendarvis Harshaw interviews the members of 1 Umbrella at an EMPIRE recording studio in San Francisco. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But we’re not here to talk about last year, nor solo projects. We’re discussing how these four artists, plus \u003ca href=\"https://www.instagram.com/lilbean/\">Lil Bean\u003c/a> (who’d arrive later), have sparked fire in the Bay with their new supergroup, \u003ca href=\"https://www.instagram.com/1umbrellaofficial/\">1 Umbrella\u003c/a>.\u003c/p>\n\u003cp>The group’s debut self-titled album drops Friday, Feb. 6, followed a \u003ca href=\"https://www.amoeba.com/live-shows/upcoming/detail-3090/\">record signing event the next day at Amoeba Music\u003c/a> in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13983236']Guests on \u003cem>1 Umbrella\u003c/em> include \u003ca href=\"https://www.kqed.org/arts/tag/larry-june\">Larry June\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/rexx-life-raj\">Rexx Life Raj\u003c/a>. With production from the likes of \u003ca href=\"https://www.instagram.com/reecebeats/\">Reece Beats\u003c/a>, \u003ca href=\"https://www.instagram.com/brutalmoney/\">Brutal Money\u003c/a> and\u003ca href=\"https://www.instagram.com/eazydrez/\"> EazyDrez\u003c/a>, the album will undoubtedly be played boisterously from the sound systems of fly cars for months to come.\u003c/p>\n\u003cp>To hear the group tell it, their music isn’t “gangsta rap” and it “fasho ain’t hyphy.” It’s lifestyle rap over heavy bass. It’s turf-repping, in-your-face bravado trash talking that comes from “diary entries” based on lived experiences. Above all, it’s a polished glimpse of modern rap from the Bay, made by artists who’ve amplified local street culture for many moons.\u003c/p>\n\u003cp>And to think, it all came together so organically.\u003c/p>\n\u003cfigure id=\"attachment_13986384\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986384\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250.jpg\" alt=\"Two African-American men sit and talk in a studio in San Francisco. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">1 Umbrella members and San Francisco representatives, Lil Bean (left) and Lil Yee (right) discuss the importance of working together to uplift the region as a whole. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I commented on his post, ‘1 umbrella,’” Lil Bean tells me as I sit down with the group’s five members. “That was a bar,” adds Zaybang of the comment that set this alliance in motion.\u003c/p>\n\u003cp>The members of the group, all with well-decorated solo careers, had already collaborated on one-off songs here and there. But late last year, when 22nd Jim released the video for the song “\u003ca href=\"https://www.youtube.com/watch?v=5Nae30ATotE\">Cash Sh*t\u003c/a>” (featuring Lil Yee and Lil Bean), Lil Bean added his comment to an Instagram post, and it was up from there.\u003c/p>\n\u003cp>While there’s been a handful of hip-hop supergroups in California alone — including Westside Connection, T.W.D.Y. and Mount Westmore — when asked who he’d compare the collective to, ALLBLACK pulls an even deeper reference.\u003c/p>\n\u003cp>“I listen to a lot of ’70s and ’80s R&B,” he says, leaning back in a folding chair while describing the groups cohesiveness. “I would say we’re the S.O.S. Band … [or] like the Stylistics, you know I mean?”\u003c/p>\n\u003cfigure id=\"attachment_13986388\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13986388\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-2000x1333.jpg\" alt=\"Three African-American men sit in a music studio while being interviewed.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zaybang (center), smiles as he’s flanked by fellow 1 Umbrella group members Lil Yee (left) and ALLBLACK (right). ‘If you put us anywhere, we’re gonna go crazy,’ says ALLBLACK. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Supergroups are often manufactured by a manager or label, says Zaybang, but 1 Umbrella came about naturally. “We frequent each other’s sessions,” says the Frisco lyricist, adding that even when they’re not on a track, they offer each other creative feedback.\u003c/p>\n\u003cp>Assisting this effort is EMPIRE itself, and its studio. Zaybang says the project technically could have been possible without EMPIRE, but “having a space to come together without even thinking about it, it gives us a good environment where, you feel me, we’re chillin, there’s snacks, and we can just park our whips…”\u003c/p>\n\u003cp>Breaking it down in sports terms, Lil Yee interjects, “This is a layup, it’s accessible. Everything else would have been a three-pointer.”\u003c/p>\n\u003cp>To their point, Vallejo rapper \u003ca href=\"https://www.instagram.com/daboii/\">DaBoii\u003c/a>, who appears on one of the album’s singles, “\u003ca href=\"https://www.youtube.com/watch?v=1fZK9sOUoBo\">The Blueprint\u003c/a>,” sat in the next room as we talked.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1fZK9sOUoBo\u003c/p>\n\u003cp>A far reach from Bay Area gangsta rap of the late ’80s and early ’90s, but clearly influenced by the mobb music of the late ’90s, 1 Umbrella’s music comes from young men who grew up during the hyphy era of the early 2000s.\u003c/p>\n\u003cp>Asked what statement the project makes, Zaybang and Lil Yee reply in tandem, “It’s a new Bay.” 22nd Jim adds, “It’s a new wave, a new sound.”\u003c/p>\n\u003cp>“We give all respect to our legends,” says Lil Yee, naming artists he idolizes as predecessors like E-40, Messy Marv and the Jacka. “They put on for us.”\u003c/p>\n\u003cp>[aside postID='arts_13984638']Wearing a monochrome black outfit accented by a bulky Cuban link chain, Lil Yee refers to the hyphy era as the Bay’s collective past. “It’s like an ancestor to us,” he says — adding that it’s still in us, and, if provoked, “we can show you the real definition of hyphy.”\u003c/p>\n\u003cp>When I mention that the video for E-40’s “\u003ca href=\"https://www.youtube.com/watch?v=2GZbaXdK8Js\">Tell Me When To Go\u003c/a>” dropped exactly 20 years ago, 22nd Jim replies, “We was riding bikes in that video.”\u003c/p>\n\u003cp>But times have changed. Many young hip-hop heads in the Bay strive for high-end fashion and foreign cars, not Vans and scrapers. Summing it up in another sports metaphor, Lil Yee says, “Niggas don’t hoop in Chucks no more.”\u003c/p>\n\u003cfigure id=\"attachment_13986385\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986385\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373.jpg\" alt=\"A group of men stand under bright lights with multiple cameras focused on them as they record a rap performance in a music studio.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Music is my diary,’ says ALLBLACK, in reference to his lyrics about pimp culture. ‘That was a part of my life.’ \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s something to be said about the Bay being pigeonholed to a popular narrative from two decades ago, especially now.\u003c/p>\n\u003cp>The Bay’s influence in music — and popular culture as a whole — is arguably more prominent than it’s ever been, says 22nd Jim as he leans forward in his seat. “You got my nigga \u003ca href=\"https://www.kqed.org/arts/tag/ryan-coogler\">Ryan [Coogler]\u003c/a>, he got 16 Oscar [nominations],” he points out. “You got \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, you even got \u003ca href=\"https://www.kqed.org/arts/tag/larussell\">LaRussell\u003c/a> doing what he’s doing.” Add to that the success of musicians \u003ca href=\"https://www.instagram.com/miles.minnick/\">Miles Minnick\u003c/a>, \u003ca href=\"https://www.bet.com/article/8pjb6y/the-rise-of-jane-handcock-death-rows-new-voice\">JANE HANDCOCK\u003c/a>, \u003ca href=\"https://www.billboard.com/music/rb-hip-hop/ovrkast-drake-rookie-month-1236024179/\">Ovrkast.\u003c/a> and actor \u003ca href=\"https://www.npr.org/2026/02/04/nx-s1-5698219/marvels-wonder-man-is-a-low-key-low-stakes-buddy-comedy\">Yahya Abdul-Mateen II\u003c/a>.\u003c/p>\n\u003cp>Wearing jet black sunglasses, a baseball hat and a huge chain with an even bigger “22nd” medallion, Jim adds, “There’s room for everyone to eat.”\u003c/p>\n\u003cp>With the table set, it’s clear that the 1 Umbrella ensemble is ready to feast.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A listening party and record signing event for 1 Umbrella takes place Saturday, Feb. 7, at \u003ca href=\"https://www.amoeba.com/live-shows/upcoming/detail-3090/\">Amoeba Records\u003c/a> (1855 Haight St., San Francisco). \u003ca href=\"https://www.amoeba.com/live-shows/upcoming/detail-3090/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "When five of the most decorated Bay Area rappers unite, the whole region wins. ",
"status": "publish",
"parent": 0,
"modified": 1770407987,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 29,
"wordCount": 1259
},
"headData": {
"title": "Five Top-Tier Bay Area Rappers Unite Under ‘1 Umbrella’ | KQED",
"description": "When five of the most decorated Bay Area rappers unite, the whole region wins. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Five Top-Tier Bay Area Rappers Unite Under ‘1 Umbrella’",
"datePublished": "2026-02-06T11:59:47-08:00",
"dateModified": "2026-02-06T11:59:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13986328",
"templateType": "standard",
"featuredImageType": "standard",
"subhead": "The group is bringing a new wave to the Bay.",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13986328/1-umbrella-bay-area-rap-allblack-22ndjim-zaybang-lil-yee-lil-bean",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a Thursday night in late January, and the members of the newly formed rap supergroup 1 Umbrella are scattered around an \u003ca href=\"https://www.empi.re/\">EMPIRE\u003c/a> recording studio in San Francisco.\u003c/p>\n\u003cp>Cameras and lights are mounted in one room. A TV showing a basketball game is on nearby. The crew is in that limbo native to recording studios: both working hard and somehow simultaneously chilling.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/22ndjim/\">22nd Jim\u003c/a> shakes my hand, casually walking past en route to change his outfit. Out back, \u003ca href=\"https://www.instagram.com/whoisallblack/\">ALLBLACK\u003c/a> gives me a big dap and a hug near people rolling Backwoods. Back inside, behind the bar, \u003ca href=\"https://www.instagram.com/zaybang/\">Zaybang\u003c/a> mixes a pitcher filled with Sprite and a few other liquids. I congratulate \u003ca href=\"https://www.instagram.com/yee/\">Lil Yee\u003c/a> on his latest solo project, \u003cem>LIFE AFTER DEATH\u003c/em>, inspired by surviving a recent shooting.\u003c/p>\n\u003cfigure id=\"attachment_13986383\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986383\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216.jpg\" alt=\"Six African American men sit in a circle while holding a conversation in a music studio \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06216-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Pendarvis Harshaw interviews the members of 1 Umbrella at an EMPIRE recording studio in San Francisco. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But we’re not here to talk about last year, nor solo projects. We’re discussing how these four artists, plus \u003ca href=\"https://www.instagram.com/lilbean/\">Lil Bean\u003c/a> (who’d arrive later), have sparked fire in the Bay with their new supergroup, \u003ca href=\"https://www.instagram.com/1umbrellaofficial/\">1 Umbrella\u003c/a>.\u003c/p>\n\u003cp>The group’s debut self-titled album drops Friday, Feb. 6, followed a \u003ca href=\"https://www.amoeba.com/live-shows/upcoming/detail-3090/\">record signing event the next day at Amoeba Music\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13983236",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Guests on \u003cem>1 Umbrella\u003c/em> include \u003ca href=\"https://www.kqed.org/arts/tag/larry-june\">Larry June\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/rexx-life-raj\">Rexx Life Raj\u003c/a>. With production from the likes of \u003ca href=\"https://www.instagram.com/reecebeats/\">Reece Beats\u003c/a>, \u003ca href=\"https://www.instagram.com/brutalmoney/\">Brutal Money\u003c/a> and\u003ca href=\"https://www.instagram.com/eazydrez/\"> EazyDrez\u003c/a>, the album will undoubtedly be played boisterously from the sound systems of fly cars for months to come.\u003c/p>\n\u003cp>To hear the group tell it, their music isn’t “gangsta rap” and it “fasho ain’t hyphy.” It’s lifestyle rap over heavy bass. It’s turf-repping, in-your-face bravado trash talking that comes from “diary entries” based on lived experiences. Above all, it’s a polished glimpse of modern rap from the Bay, made by artists who’ve amplified local street culture for many moons.\u003c/p>\n\u003cp>And to think, it all came together so organically.\u003c/p>\n\u003cfigure id=\"attachment_13986384\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986384\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250.jpg\" alt=\"Two African-American men sit and talk in a studio in San Francisco. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06250-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">1 Umbrella members and San Francisco representatives, Lil Bean (left) and Lil Yee (right) discuss the importance of working together to uplift the region as a whole. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I commented on his post, ‘1 umbrella,’” Lil Bean tells me as I sit down with the group’s five members. “That was a bar,” adds Zaybang of the comment that set this alliance in motion.\u003c/p>\n\u003cp>The members of the group, all with well-decorated solo careers, had already collaborated on one-off songs here and there. But late last year, when 22nd Jim released the video for the song “\u003ca href=\"https://www.youtube.com/watch?v=5Nae30ATotE\">Cash Sh*t\u003c/a>” (featuring Lil Yee and Lil Bean), Lil Bean added his comment to an Instagram post, and it was up from there.\u003c/p>\n\u003cp>While there’s been a handful of hip-hop supergroups in California alone — including Westside Connection, T.W.D.Y. and Mount Westmore — when asked who he’d compare the collective to, ALLBLACK pulls an even deeper reference.\u003c/p>\n\u003cp>“I listen to a lot of ’70s and ’80s R&B,” he says, leaning back in a folding chair while describing the groups cohesiveness. “I would say we’re the S.O.S. Band … [or] like the Stylistics, you know I mean?”\u003c/p>\n\u003cfigure id=\"attachment_13986388\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13986388\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-2000x1333.jpg\" alt=\"Three African-American men sit in a music studio while being interviewed.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06207.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Zaybang (center), smiles as he’s flanked by fellow 1 Umbrella group members Lil Yee (left) and ALLBLACK (right). ‘If you put us anywhere, we’re gonna go crazy,’ says ALLBLACK. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Supergroups are often manufactured by a manager or label, says Zaybang, but 1 Umbrella came about naturally. “We frequent each other’s sessions,” says the Frisco lyricist, adding that even when they’re not on a track, they offer each other creative feedback.\u003c/p>\n\u003cp>Assisting this effort is EMPIRE itself, and its studio. Zaybang says the project technically could have been possible without EMPIRE, but “having a space to come together without even thinking about it, it gives us a good environment where, you feel me, we’re chillin, there’s snacks, and we can just park our whips…”\u003c/p>\n\u003cp>Breaking it down in sports terms, Lil Yee interjects, “This is a layup, it’s accessible. Everything else would have been a three-pointer.”\u003c/p>\n\u003cp>To their point, Vallejo rapper \u003ca href=\"https://www.instagram.com/daboii/\">DaBoii\u003c/a>, who appears on one of the album’s singles, “\u003ca href=\"https://www.youtube.com/watch?v=1fZK9sOUoBo\">The Blueprint\u003c/a>,” sat in the next room as we talked.\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/1fZK9sOUoBo'\n title='//www.youtube.com/embed/1fZK9sOUoBo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A far reach from Bay Area gangsta rap of the late ’80s and early ’90s, but clearly influenced by the mobb music of the late ’90s, 1 Umbrella’s music comes from young men who grew up during the hyphy era of the early 2000s.\u003c/p>\n\u003cp>Asked what statement the project makes, Zaybang and Lil Yee reply in tandem, “It’s a new Bay.” 22nd Jim adds, “It’s a new wave, a new sound.”\u003c/p>\n\u003cp>“We give all respect to our legends,” says Lil Yee, naming artists he idolizes as predecessors like E-40, Messy Marv and the Jacka. “They put on for us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13984638",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Wearing a monochrome black outfit accented by a bulky Cuban link chain, Lil Yee refers to the hyphy era as the Bay’s collective past. “It’s like an ancestor to us,” he says — adding that it’s still in us, and, if provoked, “we can show you the real definition of hyphy.”\u003c/p>\n\u003cp>When I mention that the video for E-40’s “\u003ca href=\"https://www.youtube.com/watch?v=2GZbaXdK8Js\">Tell Me When To Go\u003c/a>” dropped exactly 20 years ago, 22nd Jim replies, “We was riding bikes in that video.”\u003c/p>\n\u003cp>But times have changed. Many young hip-hop heads in the Bay strive for high-end fashion and foreign cars, not Vans and scrapers. Summing it up in another sports metaphor, Lil Yee says, “Niggas don’t hoop in Chucks no more.”\u003c/p>\n\u003cfigure id=\"attachment_13986385\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986385\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373.jpg\" alt=\"A group of men stand under bright lights with multiple cameras focused on them as they record a rap performance in a music studio.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/A7R06373-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Music is my diary,’ says ALLBLACK, in reference to his lyrics about pimp culture. ‘That was a part of my life.’ \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s something to be said about the Bay being pigeonholed to a popular narrative from two decades ago, especially now.\u003c/p>\n\u003cp>The Bay’s influence in music — and popular culture as a whole — is arguably more prominent than it’s ever been, says 22nd Jim as he leans forward in his seat. “You got my nigga \u003ca href=\"https://www.kqed.org/arts/tag/ryan-coogler\">Ryan [Coogler]\u003c/a>, he got 16 Oscar [nominations],” he points out. “You got \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, you even got \u003ca href=\"https://www.kqed.org/arts/tag/larussell\">LaRussell\u003c/a> doing what he’s doing.” Add to that the success of musicians \u003ca href=\"https://www.instagram.com/miles.minnick/\">Miles Minnick\u003c/a>, \u003ca href=\"https://www.bet.com/article/8pjb6y/the-rise-of-jane-handcock-death-rows-new-voice\">JANE HANDCOCK\u003c/a>, \u003ca href=\"https://www.billboard.com/music/rb-hip-hop/ovrkast-drake-rookie-month-1236024179/\">Ovrkast.\u003c/a> and actor \u003ca href=\"https://www.npr.org/2026/02/04/nx-s1-5698219/marvels-wonder-man-is-a-low-key-low-stakes-buddy-comedy\">Yahya Abdul-Mateen II\u003c/a>.\u003c/p>\n\u003cp>Wearing jet black sunglasses, a baseball hat and a huge chain with an even bigger “22nd” medallion, Jim adds, “There’s room for everyone to eat.”\u003c/p>\n\u003cp>With the table set, it’s clear that the 1 Umbrella ensemble is ready to feast.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A listening party and record signing event for 1 Umbrella takes place Saturday, Feb. 7, at \u003ca href=\"https://www.amoeba.com/live-shows/upcoming/detail-3090/\">Amoeba Records\u003c/a> (1855 Haight St., San Francisco). \u003ca href=\"https://www.amoeba.com/live-shows/upcoming/detail-3090/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13986328/1-umbrella-bay-area-rap-allblack-22ndjim-zaybang-lil-yee-lil-bean",
"authors": [
"11491"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_831",
"arts_1143",
"arts_22382"
],
"featImg": "arts_13986382",
"label": "arts"
},
"arts_13985813": {
"type": "posts",
"id": "arts_13985813",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985813",
"score": null,
"sort": [
1769725856000
]
},
"guestAuthors": [],
"slug": "a-new-art-installation-celebrates-oscar-grants-40th-birthday",
"title": "A New Art Installation Celebrates Oscar Grant’s 40th Birthday",
"publishDate": 1769725856,
"format": "aside",
"headTitle": "A New Art Installation Celebrates Oscar Grant’s 40th Birthday | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13985966\" class=\"wp-caption aligncenter\" style=\"max-width: 1829px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/wEoi8Bnw-scaled.jpg\" alt=\"An African American woman wearing glasses and a leather jacket stands at a phone booth holding a phone and looking into the distance.\" width=\"1829\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/wEoi8Bnw-scaled.jpg 1829w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/wEoi8Bnw-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/wEoi8Bnw-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/wEoi8Bnw-1097x1536.jpg 1097w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/wEoi8Bnw-1463x2048.jpg 1463w\" sizes=\"auto, (max-width: 1829px) 100vw, 1829px\">\u003cfigcaption class=\"wp-caption-text\">Rev. Wanda Johnson, mother of the late Oscar Grant. \u003ccite>(Mohammad Gorjestani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>February 27, 2026 will mark \u003ca href=\"https://www.kqed.org/news/tag/oscar-grant\">Oscar Grant\u003c/a>’s 40th birthday.\u003c/p>\n\u003cp>Grant was killed at the age of 22 on New Year’s Day 2009, when he was shot on a platform at Oakland’s Fruitvale BART station by then-transit cop Johannes Mehserle.\u003c/p>\n\u003cp>The widely shared video of Grant’s murder set off a chain of protests and calls for police accountability, along with plays, music, and films — including Ryan Coogler’s \u003ca href=\"https://staging.yr.media/news/fruitvale-the-movie-will-the-world-feel-it-like-we-do-in-oakland/\">\u003cem>Fruitvale Station\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>On Grant’s birthday this year, and every year since his killing, his mother Rev. Wanda Johnson and the \u003ca href=\"https://oscargrantfoundation.org/event/15th-annual-oscar-grant-foundation-fundraiser-gala/\">Oscar Grant Foundation\u003c/a> host an annual fundraiser and gala.\u003c/p>\n\u003cp>[aside postID='news_11823246']Ahead of this year’s event, the multimedia project \u003ca href=\"https://1800happybirthday.com/\">\u003cem>1-800 Happy Birthday\u003c/em>\u003c/a> will celebrate the life of Grant on Sunday, Feb. 1, with a free \u003ca href=\"https://worthlessstudios.org/events/1800-happy-birthday-bpp?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnp8VemYm4U2ph3tqZDISocsR8xbzirvuMrxLQmUvo67hIwIyX7dV9ixcUhFY_aem_RkpUrhtqScYiWqwQXPfHsg\">event showcasing an art installation at Oakland’s Black Panther Party Musuem\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The installation, which will run through Feb. 28, takes the form of a phone booth that displays intimate family photos and birthday balloons. By lifting the phone receiver, audiences are able to hear audio recordings submitted by loved ones and community members, sharing their sentiments about the man whose life was stolen 17 years ago.\u003c/p>\n\u003cp>“If you want to see something that’s amazing,” \u003ca href=\"https://www.kqed.org/news/11639679/nine-years-after-oscar-grants-death-his-mother-continues-to-speak-out\">Johnson\u003c/a> tells me during a recent conversation, “go look at the booth.”\u003c/p>\n\u003cp>Johnson’s son is one of many “celebrants” honored by \u003cem>1-800-Happy Birthday\u003c/em>, a project created by San Jose-raised filmmaker and co-founder of \u003ca href=\"https://evenodd.studio/\">Even/Odd Studio\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13928650/pens-pals-putting-on-for-tehran-in-the-bay\">Mohammad Gorjestani\u003c/a>. At the time of Grant’s death, Gorjestani, now based in San Francisco, recalls being too young to fully process it but infuriated nonetheless.\u003c/p>\n\u003cfigure id=\"attachment_13985954\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/EpTP0KT_.jpg\" alt=\"A candid photo of a man with a black and orange SF Giants hat and a black hoodie, as he stands behind a microphone addressing an audience. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/EpTP0KT_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/EpTP0KT_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/EpTP0KT_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/EpTP0KT_-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raised in San Jose and based in San Francisco, filmmaker and multimedia artist Mohammad Gorjestani says the killing of Oscar Grant in 2009 inspired his ‘1-800 Happy Birthday’ project. \u003ccite>(Erick Salazar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Seeing Oscar’s mom on television,” Gorjestani says, recalling the interviews of Johnson in the wake of Grant’s killing, “the pain that she was feeling, I couldn’t really approach it too much because it was just so overwhelming.”\u003c/p>\n\u003cp>Sensitive to Johnson’s emotions, Gorjestani was inspired to do more than protest — he wanted to serve the community.\u003c/p>\n\u003cp>“\u003cem>1-800 Happy Birthday\u003c/em> is really meant to be an honoring, an intervention, and a confrontation of the epidemic of police killings in America and state-sanctioned violence,” he tells me.\u003c/p>\n\u003cp>The project’s first iteration came in 2014, when Gorjestani debuted his short film, \u003cem>Happy Birthday Oscar Grant\u003c/em>. That was followed by two more films dedicated to people killed by armed police officers: \u003cem>\u003ci>Happy Birthday \u003ca href=\"https://www.kqed.org/news/tag/mario-woods\">Mario Woods \u003c/a>\u003c/i>\u003c/em>and\u003cem>\u003ci> Happy Birthday \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/07/07/485066807/police-stop-ends-in-black-mans-death-aftermath-is-livestreamed-online-video\">Philando Castile\u003c/a>.\u003c/i>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13985962\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985962\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/joiJIDcD-scaled.jpg\" alt='A photo of a payphone booth surrounded by lit candles, the words \"1-800 Happy Birthday\" inscribed at the top.' width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/joiJIDcD-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/joiJIDcD-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/joiJIDcD-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/joiJIDcD-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/joiJIDcD-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The ‘1-800 Happy Birthday’ voicemails bring audiences into intimate dialogue. ‘Listening to someone speak in the second-person‘ moves [celebrants] out of a name and a headline, and more into a person that you might have known as well,’ says Mohammad Gorjestani, the installation’s creator. \u003ccite>(Shaun Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filmmaking proved to be taxing, and the COVID-19 pandemic added even more hurdles to that process. So, in July of 2020, Gorjestani pivoted, creating a hotline people could call to leave voicemails celebrating the life of Mario Woods. After receiving over 100 calls, he put the recordings on a website, where they could be heard publicly.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Gorjestani then replicated this process for over a dozen other families.\u003c/span>\u003c/p>\n\u003cp>The online project expanded to an in-person art installation in the fall of 2022, when Gorjestani teamed up with the New York-based arts nonprofit \u003ca href=\"https://worthlessstudios.org/\">WORTHLESSSTUDIOS\u003c/a>. They created a \u003cem>1-800 Happy Birthday\u003c/em> exhibition in Brooklyn, where people listened to voicemails honoring celebrants on refurbished New York City pay phones.\u003c/p>\n\u003cp>“We try to really pivot the way people engage with these tragedies,” says Gorjestani of the project. He stresses the importance of language, rephrasing “victims” to “celebrants,” highlighting that people who’ve had their lives taken also had birthdays.\u003c/p>\n\u003cfigure id=\"attachment_13985963\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/R45R_RL4.jpg\" alt='A colorful photo showing a wall of framed images and a banner that reads \"happy birthday\"' width=\"1280\" height=\"898\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/R45R_RL4.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/R45R_RL4-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/R45R_RL4-768x539.jpg 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The ‘celebrants’ featured in the ‘1-800 Happy Birthday’ project span a wide range of people from across the U.S. who’ve been killed by police violence. \u003ccite>(Shaun Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By viewing people by the the day they were born instead of the day they died, their story becomes more relatable. “This was a person who had a birthday just like you,” Gorjestani says, “[a person] who had dreams and aspirations just like you, bad days and good days just like you.”\u003c/p>\n\u003cp>Late last year, WORTHLESSSTUDIOS, Gorjestani’s Even/Odd studio and the police reform group \u003ca class=\"color-link\" title=\"https://campaignzero.org/\" href=\"https://campaignzero.org/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\" data-ga-track=\"ExternalLink:https://campaignzero.org/\" aria-label=\"police reform organization Campaign Zero\">Campaign Zero\u003c/a> secured\u003ca href=\"https://www.forbes.com/sites/chaddscott/2025/12/03/1-million-for-1-800-happy-birthday-to-continue-work-celebrating-lives-of-victims-of-police-violence/\"> $1 million\u003c/a> in funding from the \u003ca class=\"color-link\" title=\"https://www.mellon.org/article/the-monuments-project-initiative\" href=\"https://www.mellon.org/article/the-monuments-project-initiative\" target=\"_blank\" rel=\"nofollow noopener noreferrer\" data-ga-track=\"ExternalLink:https://www.mellon.org/article/the-monuments-project-initiative\" aria-label=\"Mellon Foundation\">Mellon Foundation\u003c/a>, \u003cspan style=\"color: black\">\u003ca href=\"https://sff.org/\">the San Francisco Foundation\u003c/a>, \u003ca href=\"https://www.calendow.org/\">the California Endowment\u003c/a> and \u003ca href=\"https://www.ebcf.org/?gad_source=1&gad_campaignid=22475534524&gbraid=0AAAAAo7ul84HdjeEL5jiuvhIhm8ecJJxd&gclid=Cj0KCQiAyvHLBhDlARIsAHxl6xrbL_jisYD9Q1f77UEzAljpkb8uVi6mCuPqyoBABmqLLkip27ov_X0aAsa4EALw_wcB\">the East Bay Community Foundation\u003c/a>\u003c/span> to support a national expansion of the exhibition.\u003c/p>\n\u003cp>They debuted the latest iteration earlier this month at San Francisco’s FOG Art Fair at Fort Mason. With curatorial support from \u003ca href=\"https://www.instagram.com/bjmcbride23\" target=\"_blank\" rel=\"noreferrer noopener\">Benjamin “BJ” McBride,\u003c/a> \u003ca href=\"https://www.instagram.com/freeasnow?igsh=NTc4MTIwNjQ2YQ%3D%3D\">Free Alexander Tripp’s\u003c/a> insights on exhibition design and the backing of \u003ca href=\"https://www.for-site.org/the-guardhouse-program\">FOR-SITE’s Guardhouse Program\u003c/a>, they created a space where community members and families who’ve lost children to police violence could celebrate their loved ones’ legacies.\u003c/p>\n\u003cp>As Oscar Grant’s mother, Johnson was one of the many people present.\u003c/p>\n\u003cp>Johnson says many of the project’s messages for her son have come from people who didn’t know Oscar personally. “They will tell you, ‘I don’t know you Oscar, but I’m praying for your family,'” she says, adding that people have also left happy birthday wishes, along with songs and poems. “It’s beautiful to see, and it’s beautiful to hear.”\u003c/p>\n\u003cfigure id=\"attachment_13985964\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hzLRqjnK.jpg\" alt=\"A photo of a woman in a hat, jacket and glasses holding a microphone while speaking to a crowd outside of a building at night. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hzLRqjnK.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hzLRqjnK-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hzLRqjnK-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hzLRqjnK-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rev. Wanda Johnson speaks to the crowd at the opening for ‘1-800 Happy Birthday’ at Fort Mason in San Francisco. \u003ccite>(Erick Salazar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors get to learn intimate details about people who they might only know as names in news headlines or hashtags on social media, Johnson says.\u003c/p>\n\u003cp>“You get to see some of the clothing that they [wore], you get to see some beautiful photos that they’ve taken,” she explains. “It’s really an eye-opener. It’s sad, but it’s beautiful.”\u003c/p>\n\u003cp>The artwork also gives those like Johnson a chance to speak on the continued legacy of their family members. Since Grant’s killing, there have been numerous murals painted in his honor, \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\">a street sign mounted at Fruitvale BART\u003c/a> that bears his name and the creation of a community center operated by the nonprofit \u003ca href=\"https://curyj.org/\">CURYJ\u003c/a> called the \u003ca href=\"https://curyj.org/website-style-reference/\">Oscar Grant Youth Power Zone\u003c/a>.\u003c/p>\n\u003cp>In the policy realm, \u003ca href=\"https://www.bart.gov/news/articles/2010/news20100716\">modifications to police practices on BART\u003c/a> have been instituted, as well as significant changes to policing policies in the state of California. Most notably, 2018’s police transparency bill SB 1421 led to the release of \u003ca href=\"https://www.kqed.org/news/11744106/bart-releases-report-with-new-details-of-officers-roles-in-oscar-grant-killing\">BART’s police records on Oscar Grant’s killing.\u003c/a>\u003c/p>\n\u003cp>The ripple effect of Grant’s legacy has also \u003ca href=\"https://www.kqed.org/forum/2010101868925/10-years-later-oscar-grants-legacy-continues-to-inspire-artists-and-activists\">inspired artists and activists to create organizations that still stand to this day\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13985951\" class=\"wp-caption aligncenter\" style=\"max-width: 1829px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985951\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hRY3W_mA-scaled.jpg\" alt='A black and white image of an African American woman in a black leather jacket and glasses standing at a phone booth where two \"happy birthday\" balloons are mounted. ' width=\"1829\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hRY3W_mA-scaled.jpg 1829w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hRY3W_mA-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hRY3W_mA-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hRY3W_mA-1097x1536.jpg 1097w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hRY3W_mA-1463x2048.jpg 1463w\" sizes=\"auto, (max-width: 1829px) 100vw, 1829px\">\u003cfigcaption class=\"wp-caption-text\">Rev. Wanda Johnson, mother of Oscar Grant, poses for a photo at the 1-800 Happy Birthday installation in Brooklyn in 2022. \u003ccite>(Mohammad Gorjestani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson has also evolved. She’s now an internationally recognized activist who works with families who’ve lost children to gun violence, as well as a seminary student.\u003c/p>\n\u003cp>“My end goal is to have a doctorate in theology,” she says, elaborating that her intention is to combine religious research with her work in quelling community violence.\u003c/p>\n\u003cp>As for addressing the root cause of malicious acts, Johnson first points out the commonalities we all share as human beings. “It doesn’t matter what color you are,” Johnson professes, “if we cut each other, we bleed red blood, right?”\u003c/p>\n\u003cp>It’s not just about understanding the reason for hate, she explains.\u003c/p>\n\u003cp>“In order for our society to become a more productive society,” she says, “it’s going to require some love.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The opening event for \u003ca href=\"https://worthlessstudios.org/events/1800-happy-birthday-bpp\">‘1-800 Happy Birthday’\u003c/a> takes place Sunday, Feb. 1, at the Black Panther Party Museum (1427 Broadway, Oakland); the exhibition runs through Feb. 28. \u003ca href=\"https://worthlessstudios.org/events/1800-happy-birthday-bpp\">More information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "‘1-800 Happy Birthday’ is a phone booth playing voicemails celebrating those whose lives were taken by police.",
"status": "publish",
"parent": 0,
"modified": 1769787919,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 34,
"wordCount": 1442
},
"headData": {
"title": "A New Art Installation Celebrates Oscar Grant’s 40th Birthday | KQED",
"description": "‘1-800 Happy Birthday’ is a phone booth playing voicemails celebrating those whose lives were taken by police.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A New Art Installation Celebrates Oscar Grant’s 40th Birthday",
"datePublished": "2026-01-29T14:30:56-08:00",
"dateModified": "2026-01-30T07:45:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13985813",
"templateType": "standard",
"featuredImageType": "standard",
"subhead": "These audio recordings reframe history, one person at a time. ",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13985813/a-new-art-installation-celebrates-oscar-grants-40th-birthday",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13985966\" class=\"wp-caption aligncenter\" style=\"max-width: 1829px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985966\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/wEoi8Bnw-scaled.jpg\" alt=\"An African American woman wearing glasses and a leather jacket stands at a phone booth holding a phone and looking into the distance.\" width=\"1829\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/wEoi8Bnw-scaled.jpg 1829w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/wEoi8Bnw-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/wEoi8Bnw-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/wEoi8Bnw-1097x1536.jpg 1097w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/wEoi8Bnw-1463x2048.jpg 1463w\" sizes=\"auto, (max-width: 1829px) 100vw, 1829px\">\u003cfigcaption class=\"wp-caption-text\">Rev. Wanda Johnson, mother of the late Oscar Grant. \u003ccite>(Mohammad Gorjestani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>February 27, 2026 will mark \u003ca href=\"https://www.kqed.org/news/tag/oscar-grant\">Oscar Grant\u003c/a>’s 40th birthday.\u003c/p>\n\u003cp>Grant was killed at the age of 22 on New Year’s Day 2009, when he was shot on a platform at Oakland’s Fruitvale BART station by then-transit cop Johannes Mehserle.\u003c/p>\n\u003cp>The widely shared video of Grant’s murder set off a chain of protests and calls for police accountability, along with plays, music, and films — including Ryan Coogler’s \u003ca href=\"https://staging.yr.media/news/fruitvale-the-movie-will-the-world-feel-it-like-we-do-in-oakland/\">\u003cem>Fruitvale Station\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>On Grant’s birthday this year, and every year since his killing, his mother Rev. Wanda Johnson and the \u003ca href=\"https://oscargrantfoundation.org/event/15th-annual-oscar-grant-foundation-fundraiser-gala/\">Oscar Grant Foundation\u003c/a> host an annual fundraiser and gala.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11823246",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Ahead of this year’s event, the multimedia project \u003ca href=\"https://1800happybirthday.com/\">\u003cem>1-800 Happy Birthday\u003c/em>\u003c/a> will celebrate the life of Grant on Sunday, Feb. 1, with a free \u003ca href=\"https://worthlessstudios.org/events/1800-happy-birthday-bpp?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnp8VemYm4U2ph3tqZDISocsR8xbzirvuMrxLQmUvo67hIwIyX7dV9ixcUhFY_aem_RkpUrhtqScYiWqwQXPfHsg\">event showcasing an art installation at Oakland’s Black Panther Party Musuem\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>The installation, which will run through Feb. 28, takes the form of a phone booth that displays intimate family photos and birthday balloons. By lifting the phone receiver, audiences are able to hear audio recordings submitted by loved ones and community members, sharing their sentiments about the man whose life was stolen 17 years ago.\u003c/p>\n\u003cp>“If you want to see something that’s amazing,” \u003ca href=\"https://www.kqed.org/news/11639679/nine-years-after-oscar-grants-death-his-mother-continues-to-speak-out\">Johnson\u003c/a> tells me during a recent conversation, “go look at the booth.”\u003c/p>\n\u003cp>Johnson’s son is one of many “celebrants” honored by \u003cem>1-800-Happy Birthday\u003c/em>, a project created by San Jose-raised filmmaker and co-founder of \u003ca href=\"https://evenodd.studio/\">Even/Odd Studio\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13928650/pens-pals-putting-on-for-tehran-in-the-bay\">Mohammad Gorjestani\u003c/a>. At the time of Grant’s death, Gorjestani, now based in San Francisco, recalls being too young to fully process it but infuriated nonetheless.\u003c/p>\n\u003cfigure id=\"attachment_13985954\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/EpTP0KT_.jpg\" alt=\"A candid photo of a man with a black and orange SF Giants hat and a black hoodie, as he stands behind a microphone addressing an audience. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/EpTP0KT_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/EpTP0KT_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/EpTP0KT_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/EpTP0KT_-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raised in San Jose and based in San Francisco, filmmaker and multimedia artist Mohammad Gorjestani says the killing of Oscar Grant in 2009 inspired his ‘1-800 Happy Birthday’ project. \u003ccite>(Erick Salazar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Seeing Oscar’s mom on television,” Gorjestani says, recalling the interviews of Johnson in the wake of Grant’s killing, “the pain that she was feeling, I couldn’t really approach it too much because it was just so overwhelming.”\u003c/p>\n\u003cp>Sensitive to Johnson’s emotions, Gorjestani was inspired to do more than protest — he wanted to serve the community.\u003c/p>\n\u003cp>“\u003cem>1-800 Happy Birthday\u003c/em> is really meant to be an honoring, an intervention, and a confrontation of the epidemic of police killings in America and state-sanctioned violence,” he tells me.\u003c/p>\n\u003cp>The project’s first iteration came in 2014, when Gorjestani debuted his short film, \u003cem>Happy Birthday Oscar Grant\u003c/em>. That was followed by two more films dedicated to people killed by armed police officers: \u003cem>\u003ci>Happy Birthday \u003ca href=\"https://www.kqed.org/news/tag/mario-woods\">Mario Woods \u003c/a>\u003c/i>\u003c/em>and\u003cem>\u003ci> Happy Birthday \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/07/07/485066807/police-stop-ends-in-black-mans-death-aftermath-is-livestreamed-online-video\">Philando Castile\u003c/a>.\u003c/i>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13985962\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985962\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/joiJIDcD-scaled.jpg\" alt='A photo of a payphone booth surrounded by lit candles, the words \"1-800 Happy Birthday\" inscribed at the top.' width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/joiJIDcD-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/joiJIDcD-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/joiJIDcD-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/joiJIDcD-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/joiJIDcD-1365x2048.jpg 1365w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">The ‘1-800 Happy Birthday’ voicemails bring audiences into intimate dialogue. ‘Listening to someone speak in the second-person‘ moves [celebrants] out of a name and a headline, and more into a person that you might have known as well,’ says Mohammad Gorjestani, the installation’s creator. \u003ccite>(Shaun Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filmmaking proved to be taxing, and the COVID-19 pandemic added even more hurdles to that process. So, in July of 2020, Gorjestani pivoted, creating a hotline people could call to leave voicemails celebrating the life of Mario Woods. After receiving over 100 calls, he put the recordings on a website, where they could be heard publicly.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Gorjestani then replicated this process for over a dozen other families.\u003c/span>\u003c/p>\n\u003cp>The online project expanded to an in-person art installation in the fall of 2022, when Gorjestani teamed up with the New York-based arts nonprofit \u003ca href=\"https://worthlessstudios.org/\">WORTHLESSSTUDIOS\u003c/a>. They created a \u003cem>1-800 Happy Birthday\u003c/em> exhibition in Brooklyn, where people listened to voicemails honoring celebrants on refurbished New York City pay phones.\u003c/p>\n\u003cp>“We try to really pivot the way people engage with these tragedies,” says Gorjestani of the project. He stresses the importance of language, rephrasing “victims” to “celebrants,” highlighting that people who’ve had their lives taken also had birthdays.\u003c/p>\n\u003cfigure id=\"attachment_13985963\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/R45R_RL4.jpg\" alt='A colorful photo showing a wall of framed images and a banner that reads \"happy birthday\"' width=\"1280\" height=\"898\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/R45R_RL4.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/R45R_RL4-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/R45R_RL4-768x539.jpg 768w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The ‘celebrants’ featured in the ‘1-800 Happy Birthday’ project span a wide range of people from across the U.S. who’ve been killed by police violence. \u003ccite>(Shaun Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By viewing people by the the day they were born instead of the day they died, their story becomes more relatable. “This was a person who had a birthday just like you,” Gorjestani says, “[a person] who had dreams and aspirations just like you, bad days and good days just like you.”\u003c/p>\n\u003cp>Late last year, WORTHLESSSTUDIOS, Gorjestani’s Even/Odd studio and the police reform group \u003ca class=\"color-link\" title=\"https://campaignzero.org/\" href=\"https://campaignzero.org/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\" data-ga-track=\"ExternalLink:https://campaignzero.org/\" aria-label=\"police reform organization Campaign Zero\">Campaign Zero\u003c/a> secured\u003ca href=\"https://www.forbes.com/sites/chaddscott/2025/12/03/1-million-for-1-800-happy-birthday-to-continue-work-celebrating-lives-of-victims-of-police-violence/\"> $1 million\u003c/a> in funding from the \u003ca class=\"color-link\" title=\"https://www.mellon.org/article/the-monuments-project-initiative\" href=\"https://www.mellon.org/article/the-monuments-project-initiative\" target=\"_blank\" rel=\"nofollow noopener noreferrer\" data-ga-track=\"ExternalLink:https://www.mellon.org/article/the-monuments-project-initiative\" aria-label=\"Mellon Foundation\">Mellon Foundation\u003c/a>, \u003cspan style=\"color: black\">\u003ca href=\"https://sff.org/\">the San Francisco Foundation\u003c/a>, \u003ca href=\"https://www.calendow.org/\">the California Endowment\u003c/a> and \u003ca href=\"https://www.ebcf.org/?gad_source=1&gad_campaignid=22475534524&gbraid=0AAAAAo7ul84HdjeEL5jiuvhIhm8ecJJxd&gclid=Cj0KCQiAyvHLBhDlARIsAHxl6xrbL_jisYD9Q1f77UEzAljpkb8uVi6mCuPqyoBABmqLLkip27ov_X0aAsa4EALw_wcB\">the East Bay Community Foundation\u003c/a>\u003c/span> to support a national expansion of the exhibition.\u003c/p>\n\u003cp>They debuted the latest iteration earlier this month at San Francisco’s FOG Art Fair at Fort Mason. With curatorial support from \u003ca href=\"https://www.instagram.com/bjmcbride23\" target=\"_blank\" rel=\"noreferrer noopener\">Benjamin “BJ” McBride,\u003c/a> \u003ca href=\"https://www.instagram.com/freeasnow?igsh=NTc4MTIwNjQ2YQ%3D%3D\">Free Alexander Tripp’s\u003c/a> insights on exhibition design and the backing of \u003ca href=\"https://www.for-site.org/the-guardhouse-program\">FOR-SITE’s Guardhouse Program\u003c/a>, they created a space where community members and families who’ve lost children to police violence could celebrate their loved ones’ legacies.\u003c/p>\n\u003cp>As Oscar Grant’s mother, Johnson was one of the many people present.\u003c/p>\n\u003cp>Johnson says many of the project’s messages for her son have come from people who didn’t know Oscar personally. “They will tell you, ‘I don’t know you Oscar, but I’m praying for your family,'” she says, adding that people have also left happy birthday wishes, along with songs and poems. “It’s beautiful to see, and it’s beautiful to hear.”\u003c/p>\n\u003cfigure id=\"attachment_13985964\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hzLRqjnK.jpg\" alt=\"A photo of a woman in a hat, jacket and glasses holding a microphone while speaking to a crowd outside of a building at night. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hzLRqjnK.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hzLRqjnK-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hzLRqjnK-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hzLRqjnK-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rev. Wanda Johnson speaks to the crowd at the opening for ‘1-800 Happy Birthday’ at Fort Mason in San Francisco. \u003ccite>(Erick Salazar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors get to learn intimate details about people who they might only know as names in news headlines or hashtags on social media, Johnson says.\u003c/p>\n\u003cp>“You get to see some of the clothing that they [wore], you get to see some beautiful photos that they’ve taken,” she explains. “It’s really an eye-opener. It’s sad, but it’s beautiful.”\u003c/p>\n\u003cp>The artwork also gives those like Johnson a chance to speak on the continued legacy of their family members. Since Grant’s killing, there have been numerous murals painted in his honor, \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\">a street sign mounted at Fruitvale BART\u003c/a> that bears his name and the creation of a community center operated by the nonprofit \u003ca href=\"https://curyj.org/\">CURYJ\u003c/a> called the \u003ca href=\"https://curyj.org/website-style-reference/\">Oscar Grant Youth Power Zone\u003c/a>.\u003c/p>\n\u003cp>In the policy realm, \u003ca href=\"https://www.bart.gov/news/articles/2010/news20100716\">modifications to police practices on BART\u003c/a> have been instituted, as well as significant changes to policing policies in the state of California. Most notably, 2018’s police transparency bill SB 1421 led to the release of \u003ca href=\"https://www.kqed.org/news/11744106/bart-releases-report-with-new-details-of-officers-roles-in-oscar-grant-killing\">BART’s police records on Oscar Grant’s killing.\u003c/a>\u003c/p>\n\u003cp>The ripple effect of Grant’s legacy has also \u003ca href=\"https://www.kqed.org/forum/2010101868925/10-years-later-oscar-grants-legacy-continues-to-inspire-artists-and-activists\">inspired artists and activists to create organizations that still stand to this day\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13985951\" class=\"wp-caption aligncenter\" style=\"max-width: 1829px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985951\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hRY3W_mA-scaled.jpg\" alt='A black and white image of an African American woman in a black leather jacket and glasses standing at a phone booth where two \"happy birthday\" balloons are mounted. ' width=\"1829\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hRY3W_mA-scaled.jpg 1829w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hRY3W_mA-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hRY3W_mA-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hRY3W_mA-1097x1536.jpg 1097w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/hRY3W_mA-1463x2048.jpg 1463w\" sizes=\"auto, (max-width: 1829px) 100vw, 1829px\">\u003cfigcaption class=\"wp-caption-text\">Rev. Wanda Johnson, mother of Oscar Grant, poses for a photo at the 1-800 Happy Birthday installation in Brooklyn in 2022. \u003ccite>(Mohammad Gorjestani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson has also evolved. She’s now an internationally recognized activist who works with families who’ve lost children to gun violence, as well as a seminary student.\u003c/p>\n\u003cp>“My end goal is to have a doctorate in theology,” she says, elaborating that her intention is to combine religious research with her work in quelling community violence.\u003c/p>\n\u003cp>As for addressing the root cause of malicious acts, Johnson first points out the commonalities we all share as human beings. “It doesn’t matter what color you are,” Johnson professes, “if we cut each other, we bleed red blood, right?”\u003c/p>\n\u003cp>It’s not just about understanding the reason for hate, she explains.\u003c/p>\n\u003cp>“In order for our society to become a more productive society,” she says, “it’s going to require some love.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The opening event for \u003ca href=\"https://worthlessstudios.org/events/1800-happy-birthday-bpp\">‘1-800 Happy Birthday’\u003c/a> takes place Sunday, Feb. 1, at the Black Panther Party Museum (1427 Broadway, Oakland); the exhibition runs through Feb. 28. \u003ca href=\"https://worthlessstudios.org/events/1800-happy-birthday-bpp\">More information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985813/a-new-art-installation-celebrates-oscar-grants-40th-birthday",
"authors": [
"11491"
],
"categories": [
"arts_1",
"arts_235",
"arts_70"
],
"tags": [
"arts_10278",
"arts_1143",
"arts_6252",
"arts_5848"
],
"featImg": "arts_13985997",
"label": "arts"
},
"arts_13985867": {
"type": "posts",
"id": "arts_13985867",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985867",
"score": null,
"sort": [
1769539606000
]
},
"guestAuthors": [],
"slug": "i-love-boosters-trailer-boots-riley-keke-palmer-don-cheadle",
"title": "The ‘I Love Boosters’ Trailer Is Here and It’s as Wild as You’d Expect",
"publishDate": 1769539606,
"format": "standard",
"headTitle": "The ‘I Love Boosters’ Trailer Is Here and It’s as Wild as You’d Expect | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/boots-riley\">Boots Riley’s\u003c/a> upcoming film \u003cem>I Love Boosters\u003c/em> is due out May 22, and the trailer for the film just dropped. Fortunately, it includes all the clever dialogue, exaggerated body suits and subversion of capitalism we’ve come to expect and love from the Oakland filmmaker behind \u003cem>\u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\">Sorry to Bother You\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13939974/boots-riley-is-directing-the-future\">I’m a Virgo\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Starring Keke Palmer, \u003cem>I Love Boosters\u003c/em> follows a “Velvet Gang” of women who steal high-end fashion from stores and resell it at lower prices. “It’s like a community service,” explains Naomi Ackie in the trailer. (Demi Moore, as fashion designer Christie Smith, has different view: “They take my shit, and sell it to their low-class, urban bitches.”)\u003c/p>\n\u003cp>With a cast that includes Lakeith Stanfield, Don Cheadle, Taylour Paige, Eiza González and Will Poulter, \u003cem>I Love Boosters\u003c/em> is set in the Bay Area. The Bay Bridge is seen prominently in the trailer, as are various storefronts on Oakland’s International Blvd., near 35th and 45th — including Friends Market, Santa Clara Appliances, Angie’s Fashion and Taqueria La Gran Chiquita.\u003c/p>\n\u003cp>Watch the trailer below. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rnfTmSAnS3c\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Boots Riley's new film, about resellers stealing from high-end fashion stores, is set in the Bay Area. ",
"status": "publish",
"parent": 0,
"modified": 1769539606,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 6,
"wordCount": 205
},
"headData": {
"title": "The ‘I Love Boosters’ Trailer Is Here and It’s as Wild as You’d Expect | KQED",
"description": "Boots Riley's new film, about resellers stealing from high-end fashion stores, is set in the Bay Area. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The ‘I Love Boosters’ Trailer Is Here and It’s as Wild as You’d Expect",
"datePublished": "2026-01-27T10:46:46-08:00",
"dateModified": "2026-01-27T10:46:46-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13985867",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13985867/i-love-boosters-trailer-boots-riley-keke-palmer-don-cheadle",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/boots-riley\">Boots Riley’s\u003c/a> upcoming film \u003cem>I Love Boosters\u003c/em> is due out May 22, and the trailer for the film just dropped. Fortunately, it includes all the clever dialogue, exaggerated body suits and subversion of capitalism we’ve come to expect and love from the Oakland filmmaker behind \u003cem>\u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\">Sorry to Bother You\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13939974/boots-riley-is-directing-the-future\">I’m a Virgo\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Starring Keke Palmer, \u003cem>I Love Boosters\u003c/em> follows a “Velvet Gang” of women who steal high-end fashion from stores and resell it at lower prices. “It’s like a community service,” explains Naomi Ackie in the trailer. (Demi Moore, as fashion designer Christie Smith, has different view: “They take my shit, and sell it to their low-class, urban bitches.”)\u003c/p>\n\u003cp>With a cast that includes Lakeith Stanfield, Don Cheadle, Taylour Paige, Eiza González and Will Poulter, \u003cem>I Love Boosters\u003c/em> is set in the Bay Area. The Bay Bridge is seen prominently in the trailer, as are various storefronts on Oakland’s International Blvd., near 35th and 45th — including Friends Market, Santa Clara Appliances, Angie’s Fashion and Taqueria La Gran Chiquita.\u003c/p>\n\u003cp>Watch the trailer below. \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/rnfTmSAnS3c'\n title='//www.youtube.com/embed/rnfTmSAnS3c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985867/i-love-boosters-trailer-boots-riley-keke-palmer-don-cheadle",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_74"
],
"tags": [
"arts_1998",
"arts_10278",
"arts_1143"
],
"featImg": "arts_13985869",
"label": "arts"
},
"arts_13985679": {
"type": "posts",
"id": "arts_13985679",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985679",
"score": null,
"sort": [
1769033001000
]
},
"guestAuthors": [],
"slug": "yoshis-oakland-jazz-rap-hip-hop-shows",
"title": "How Oakland’s Most Famous Jazz Club Became a Hotspot for Hip-Hop",
"publishDate": 1769033001,
"format": "standard",
"headTitle": "How Oakland’s Most Famous Jazz Club Became a Hotspot for Hip-Hop | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It was the final night of DJ Quik’s December residency at Yoshi’s, and he felt like stretching out. \u003c/p>\n\u003cp>Two songs into his set, the Compton-raised rap legend started conducting the band: first bringing the volume down, then leading his guitarist and keyboard player in back-to-back solos before pulling in the drums. He then turned the song’s West Coast rap rhythms upside down by grabbing some Latin percussion and twisting out an improvised solo of his own.\u003c/p>\n\u003cp>A grin spread across Quik’s face. “This \u003ci>is\u003c/i> a jazz club, ain’t it?” he asked the crowd.\u003c/p>\n\u003cp>In fact, Yoshi’s is the oldest and most famous jazz club in Oakland. But lately, it’s been something else too: a home for hip-hop legends like Scarface, the Pharcyde and Ghostface Killah, usually with a live band. It’s a reinvention that’s been especially notable in the past year, and it’s been packing in grown fans who once ran in the streets but now prefer sitting at tables. \u003c/p>\n\u003cfigure id=\"attachment_13985283\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Audience members film Spice 1 as he performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was definitely a certain effort with us to evolve our programming into more hip-hop and contemporary R&B bookings,” says Marc Zuazua, Yoshi’s director of marketing, in the club’s dining room before a recent Spice 1 show. After the pandemic, especially, he says, the crowds that once came to see traditional jazz artists, “who would do amazing for us in the past — like, those audiences weren’t coming back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Who \u003ci>were\u003c/i> coming back were rap fans, especially to see the Bay Area’s own homegrown talent. Last year alone, Vallejo legend Mac Mall sold out a show. Oakland’s Richie Rich sold out two. Too Short sold out six. \u003c/p>\n\u003cp>It’s transformed not only box office revenues but the vibe inside the club, Zuazua says, with its traditional supper-club-style semicircle seating at tables and booths, and a menu featuring sushi and cocktails. Currently, Yoshi’s has hip-hop shows lined up with Mistah FAB (Jan. 22), the GZA (Feb. 8), and Twista (April 23). \u003c/p>\n\u003cfigure id=\"attachment_13985286\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spice 1 performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Hayward’s Spice 1 took the stage later in the night, he acknowledged the mostly full club, and its atmosphere.\u003c/p>\n\u003cp>“This is kind of an upscale type thing, man,” he said, “but we can get up out of our seats!” \u003c/p>\n\u003cp>As the bass line to “I Got 5 on It” kicked off the set, many folks did just that — dancing, singing along, filming. Over the next 45 minutes, while Spice 1 delivered 30-year-old hits like “187 Proof” and “Welcome to the Ghetto,” people who now qualify for AARP membership celebrated with abandon alongside a handful of younger fans, who swarmed the rapper in the Yoshi’s front lobby afterward to get a selfie.\u003c/p>\n\u003cp>[aside postID=arts_13975538 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1.jpg']\u003c/p>\n\u003cp>It was a far cry from a straight-ahead jazz show at Yoshi’s, historically known for hosting golden-era legends like Pharoah Sanders, Roy Haynes, Charlie Haden or the esteemed McCoy Tyner, who once played an annual two-week residency at the club.\u003c/p>\n\u003cp>Even before the pandemic, several factors affected Yoshi’s ability to book traditional jazz. One was the 2013 opening of the SFJAZZ Center, which siphoned giants like Tyner across the Bay and into a brand new venue with a bigger backstage. Another was the \u003ca href=\"https://www.kqed.org/arts/10297603/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close\">high-profile collapse of Yoshi’s San Francisco\u003c/a>, which kept some artists away from the Oakland club — even though the operations were basically separate entities. \u003c/p>\n\u003cp>And then there’s the simple fact that, despite contemporary jazz scenes in LA, Chicago and London gaining popularity with younger fans over the past decade, \u003ca href=\"https://andscape.com/features/jazz-musicians-see-signs-of-hope-despite-repeated-questions-about-its-popularity/\">jazz remains a small sliver of overall music listening\u003c/a>. The 1960s and ’70s jazz generation is getting older. Sanders, Haynes, Haden and Tyner, to count just four of hundreds, have all passed away. As Zuazua notes, many traditional jazz fans either live far away in the suburbs, remain scared by a media crime narrative about Oakland or have simply aged out of their nightclub-going years.\u003c/p>\n\u003cp>That’s unfortunate, because if your typical jazz-listening uncle came to a rap show at Yoshi’s, most of the time he’d witness a live band on par with a classic Prestige Records-era quintet.\u003c/p>\n\u003cfigure id=\"attachment_13985677\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mac Mall performs with a live band and DJ at Yoshi’s jazz club in Oakland on Aug. 10, 2025. \u003ccite>(Courtesy Mac Mall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rappers at Yoshi’s are often backed by the go-to live hip-hop musical director for the Bay Area: Kev Choice. In fact, Choice was the first artist to regularly bring hip-hop to Yoshi’s, starting all the way back in 2008, with annual shows by his Kev Choice Ensemble that featured guests like Zumbi from Zion I, Phesto from Souls of Mischief, Silk-E from the Coup or Too Short. \u003c/p>\n\u003cp>“Hip-hop fans have grown, have matured, have come into a new space of wanting to see some of their favorite artists — maybe in a different context, or coming to life in a different way,” Choice says.\u003ci> \u003c/i>\u003c/p>\n\u003cp>Yoshi’s isn’t alone in selling out shows by regional stars, like Oakland group the Delinquents in 2023. For the past several years, the Blue Note jazz club in New York has hosted rappers like Mos Def, Black Thought and Rakim. Yoshi’s San Francisco had even booked hip-hop acts a full 10 to 15 years ago: the Geto Boys, Public Enemy, Suga Free, Jay Electronica and KRS-One all appeared on its stage. \u003c/p>\n\u003cfigure id=\"attachment_13985280\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gianna Farren performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, rap and jazz have overlapped since the dawn of the 1990s. Along with more R&B, smooth jazz and world music on Yoshi’s calendar, one could call the development part of a natural lineage, musically and culturally. Richie Rich, who once \u003ca href=\"https://youtu.be/JGXrqZY8hwM?si=sowD8bDEnrHy60en\">rapped over George Duke samples\u003c/a> in the East Bay group 415, has been particularly strong in recommending Yoshi’s to other rappers, sometimes booked by outside promoters like \u003ca href=\"https://www.instagram.com/ajthearchitect/\">AJ the Architect\u003c/a>.\u003c/p>\n\u003cp>With change comes criticism, of course. \u003c/p>\n\u003cp>“There’s definitely older jazz fans out there that always have something to say on Facebook. ‘I remember when Yoshi’s was a jazz venue,’ you know,” says Zuazua. “But if they were to show up and not just be commenting on social media, we’d definitely be booking more jazz, and more blues.”\u003c/p>\n\u003cp>[aside postID='arts_13928550']Echoing Choice — who also served as musical director for \u003ca href=\"https://youtu.be/59eBs8iiLU0?si=zAMfirZRZImLNTxi\">E-40’s recent Tiny Desk Concert at NPR\u003c/a> — Zuazua says that while the “soundscape” has changed, the intensity, spontaneity and musical beauty Yoshi’s is known for is still very much present, especially with a live band.\u003c/p>\n\u003cp>“I’ve been going to hip-hop shows for as long as I can remember,” he says. “You go to a hip-hop show with a band, and that bass line is \u003ci>popping\u003c/i>. There’s horns. It’s alive.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Mistah FAB performs two shows with the Kev Choice Ensemble on Thursday, Jan. 22, at Yoshi’s (510 Embarcadero West, Oakland), at 7 p.m. and 9 p.m. \u003ca href=\"https://yoshis.com/events/sold-out/mistah-f-a-b-with-kev-choice/detail\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Yoshi’s has turned quiet weeknights into sold-out shows by Too Short, Scarface and others.",
"status": "publish",
"parent": 0,
"modified": 1769187877,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 26,
"wordCount": 1337
},
"headData": {
"title": "Rap Shows on the Rise at Yoshi's in Oakland | KQED",
"description": "Yoshi’s has turned quiet weeknights into sold-out shows by Too Short, Scarface and others.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"socialTitle": "Rap Shows on the Rise at Yoshi's in Oakland %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "How Oakland’s Most Famous Jazz Club Became a Hotspot for Hip-Hop",
"datePublished": "2026-01-21T14:03:21-08:00",
"dateModified": "2026-01-23T09:04:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13985679",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13985679/yoshis-oakland-jazz-rap-hip-hop-shows",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the final night of DJ Quik’s December residency at Yoshi’s, and he felt like stretching out. \u003c/p>\n\u003cp>Two songs into his set, the Compton-raised rap legend started conducting the band: first bringing the volume down, then leading his guitarist and keyboard player in back-to-back solos before pulling in the drums. He then turned the song’s West Coast rap rhythms upside down by grabbing some Latin percussion and twisting out an improvised solo of his own.\u003c/p>\n\u003cp>A grin spread across Quik’s face. “This \u003ci>is\u003c/i> a jazz club, ain’t it?” he asked the crowd.\u003c/p>\n\u003cp>In fact, Yoshi’s is the oldest and most famous jazz club in Oakland. But lately, it’s been something else too: a home for hip-hop legends like Scarface, the Pharcyde and Ghostface Killah, usually with a live band. It’s a reinvention that’s been especially notable in the past year, and it’s been packing in grown fans who once ran in the streets but now prefer sitting at tables. \u003c/p>\n\u003cfigure id=\"attachment_13985283\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00690_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Audience members film Spice 1 as he performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was definitely a certain effort with us to evolve our programming into more hip-hop and contemporary R&B bookings,” says Marc Zuazua, Yoshi’s director of marketing, in the club’s dining room before a recent Spice 1 show. After the pandemic, especially, he says, the crowds that once came to see traditional jazz artists, “who would do amazing for us in the past — like, those audiences weren’t coming back.”\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>Who \u003ci>were\u003c/i> coming back were rap fans, especially to see the Bay Area’s own homegrown talent. Last year alone, Vallejo legend Mac Mall sold out a show. Oakland’s Richie Rich sold out two. Too Short sold out six. \u003c/p>\n\u003cp>It’s transformed not only box office revenues but the vibe inside the club, Zuazua says, with its traditional supper-club-style semicircle seating at tables and booths, and a menu featuring sushi and cocktails. Currently, Yoshi’s has hip-hop shows lined up with Mistah FAB (Jan. 22), the GZA (Feb. 8), and Twista (April 23). \u003c/p>\n\u003cfigure id=\"attachment_13985286\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00908_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spice 1 performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Hayward’s Spice 1 took the stage later in the night, he acknowledged the mostly full club, and its atmosphere.\u003c/p>\n\u003cp>“This is kind of an upscale type thing, man,” he said, “but we can get up out of our seats!” \u003c/p>\n\u003cp>As the bass line to “I Got 5 on It” kicked off the set, many folks did just that — dancing, singing along, filming. Over the next 45 minutes, while Spice 1 delivered 30-year-old hits like “187 Proof” and “Welcome to the Ghetto,” people who now qualify for AARP membership celebrated with abandon alongside a handful of younger fans, who swarmed the rapper in the Yoshi’s front lobby afterward to get a selfie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13975538",
"hero": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1.jpg",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was a far cry from a straight-ahead jazz show at Yoshi’s, historically known for hosting golden-era legends like Pharoah Sanders, Roy Haynes, Charlie Haden or the esteemed McCoy Tyner, who once played an annual two-week residency at the club.\u003c/p>\n\u003cp>Even before the pandemic, several factors affected Yoshi’s ability to book traditional jazz. One was the 2013 opening of the SFJAZZ Center, which siphoned giants like Tyner across the Bay and into a brand new venue with a bigger backstage. Another was the \u003ca href=\"https://www.kqed.org/arts/10297603/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close\">high-profile collapse of Yoshi’s San Francisco\u003c/a>, which kept some artists away from the Oakland club — even though the operations were basically separate entities. \u003c/p>\n\u003cp>And then there’s the simple fact that, despite contemporary jazz scenes in LA, Chicago and London gaining popularity with younger fans over the past decade, \u003ca href=\"https://andscape.com/features/jazz-musicians-see-signs-of-hope-despite-repeated-questions-about-its-popularity/\">jazz remains a small sliver of overall music listening\u003c/a>. The 1960s and ’70s jazz generation is getting older. Sanders, Haynes, Haden and Tyner, to count just four of hundreds, have all passed away. As Zuazua notes, many traditional jazz fans either live far away in the suburbs, remain scared by a media crime narrative about Oakland or have simply aged out of their nightclub-going years.\u003c/p>\n\u003cp>That’s unfortunate, because if your typical jazz-listening uncle came to a rap show at Yoshi’s, most of the time he’d witness a live band on par with a classic Prestige Records-era quintet.\u003c/p>\n\u003cfigure id=\"attachment_13985677\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/IMG_3943-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mac Mall performs with a live band and DJ at Yoshi’s jazz club in Oakland on Aug. 10, 2025. \u003ccite>(Courtesy Mac Mall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rappers at Yoshi’s are often backed by the go-to live hip-hop musical director for the Bay Area: Kev Choice. In fact, Choice was the first artist to regularly bring hip-hop to Yoshi’s, starting all the way back in 2008, with annual shows by his Kev Choice Ensemble that featured guests like Zumbi from Zion I, Phesto from Souls of Mischief, Silk-E from the Coup or Too Short. \u003c/p>\n\u003cp>“Hip-hop fans have grown, have matured, have come into a new space of wanting to see some of their favorite artists — maybe in a different context, or coming to life in a different way,” Choice says.\u003ci> \u003c/i>\u003c/p>\n\u003cp>Yoshi’s isn’t alone in selling out shows by regional stars, like Oakland group the Delinquents in 2023. For the past several years, the Blue Note jazz club in New York has hosted rappers like Mos Def, Black Thought and Rakim. Yoshi’s San Francisco had even booked hip-hop acts a full 10 to 15 years ago: the Geto Boys, Public Enemy, Suga Free, Jay Electronica and KRS-One all appeared on its stage. \u003c/p>\n\u003cfigure id=\"attachment_13985280\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/260108-yoshishiphopshows00240_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gianna Farren performs at Yoshi’s in Oakland on January 8, 2026. \u003ccite>(Tâm Vũ / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, rap and jazz have overlapped since the dawn of the 1990s. Along with more R&B, smooth jazz and world music on Yoshi’s calendar, one could call the development part of a natural lineage, musically and culturally. Richie Rich, who once \u003ca href=\"https://youtu.be/JGXrqZY8hwM?si=sowD8bDEnrHy60en\">rapped over George Duke samples\u003c/a> in the East Bay group 415, has been particularly strong in recommending Yoshi’s to other rappers, sometimes booked by outside promoters like \u003ca href=\"https://www.instagram.com/ajthearchitect/\">AJ the Architect\u003c/a>.\u003c/p>\n\u003cp>With change comes criticism, of course. \u003c/p>\n\u003cp>“There’s definitely older jazz fans out there that always have something to say on Facebook. ‘I remember when Yoshi’s was a jazz venue,’ you know,” says Zuazua. “But if they were to show up and not just be commenting on social media, we’d definitely be booking more jazz, and more blues.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13928550",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Echoing Choice — who also served as musical director for \u003ca href=\"https://youtu.be/59eBs8iiLU0?si=zAMfirZRZImLNTxi\">E-40’s recent Tiny Desk Concert at NPR\u003c/a> — Zuazua says that while the “soundscape” has changed, the intensity, spontaneity and musical beauty Yoshi’s is known for is still very much present, especially with a live band.\u003c/p>\n\u003cp>“I’ve been going to hip-hop shows for as long as I can remember,” he says. “You go to a hip-hop show with a band, and that bass line is \u003ci>popping\u003c/i>. There’s horns. It’s alive.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Mistah FAB performs two shows with the Kev Choice Ensemble on Thursday, Jan. 22, at Yoshi’s (510 Embarcadero West, Oakland), at 7 p.m. and 9 p.m. \u003ca href=\"https://yoshis.com/events/sold-out/mistah-f-a-b-with-kev-choice/detail\">Tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985679/yoshis-oakland-jazz-rap-hip-hop-shows",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_10342",
"arts_10278",
"arts_831",
"arts_1420",
"arts_5371",
"arts_1143",
"arts_22382"
],
"featImg": "arts_13985282",
"label": "arts"
},
"arts_13985320": {
"type": "posts",
"id": "arts_13985320",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985320",
"score": null,
"sort": [
1768519612000
]
},
"guestAuthors": [],
"slug": "noir-city-2026-music-jazz-murder-grand-lake-oakland",
"title": "Music and All That Jazz at This Year’s Noir City Film Festival",
"publishDate": 1768519612,
"format": "standard",
"headTitle": "Music and All That Jazz at This Year’s Noir City Film Festival | KQED",
"labelTerm": {},
"content": "\u003cp>Treachery and deceit swirl all around us. Every awards season, it seems, there’s an \u003ca href=\"https://www.kqed.org/arts/tag/oscars\">Oscar\u003c/a> given to the right person, but for the wrong film. Sometimes it’s an actor (Al Pacino for \u003cem>Scent of a Woman\u003c/em>), sometimes it’s a director (Martin Scorcese for \u003cem>The Departed\u003c/em>).\u003c/p>\n\u003cp>And sometimes it’s a singer.\u003c/p>\n\u003cp>If you see any movie at this year’s \u003ca href=\"https://www.noircity.com/\">Noir City\u003c/a> festival, running Jan. 16–25 at Oakland’s \u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>, make it \u003cem>The Man With the Golden Arm\u003c/em>, starring Frank Sinatra. At the time a skinny crooner who’d just won Best Supporting Actor for \u003cem>From Here to Eternity\u003c/em>, Ol’ Blue Eyes turns in his actual greatest-ever acting performance as a jazz drummer \u003ca href=\"https://www.youtube.com/watch?v=MmqTc07linY\">desperately trying\u003c/a> — with girlfriend Kim Novak — to kick his debilitating heroin addiction.\u003c/p>\n\u003cfigure id=\"attachment_13985493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra and Kim Novak in ‘The Man With the Golden Arm,’ directed by Otto Preminger in 1955. \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Screening in a double feature at Noir City with \u003cem>The Sweet Smell of Success\u003c/em> (from the bygone age of 1957, when critics actually held power over performing artists’ fortunes), \u003cem>The Man With the Golden Arm\u003c/em>, with its pulsing, blaring jazz music by Elmer Bernstein, marked a sea change in film scores.\u003c/p>\n\u003cp>Eddie Muller knows the cliché all too well of a black-and-white noir movie from the 1940s, with its “a lonesome wailing saxophone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Except that brass instruments were hardly used at all in 1940s scores, Muller explains in a recent interview. “In the 1940s, Hollywood had their studio orchestras, and were still beholden to that classic European orchestral score approach,” he says. “But in the ’50s, that really changed, and \u003cem>The Man With the Golden Arm\u003c/em> had a lot to do with that.”\u003c/p>\n\u003cfigure id=\"attachment_13985492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985492\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ida Lupino as a lounge singer in ‘The Man I Love,’ directed by Raoul Walsh in 1947. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the kind of deep knowledge I anticipated from a conversation with Muller, who since 2003 has hosted Noir City, a celebration of all things double-crossing and murderous on the silver screen. Each year, the hugely popular festival follows a theme; the first year I attended and realized I’d found my people, it was newspapers. This year’s is music.\u003c/p>\n\u003cp>That includes films like \u003cem>Gilda\u003c/em>, with Rita Hayworth’s famous glove-removing nightclub performance of “\u003ca href=\"https://www.youtube.com/watch?v=hllEi7bJ4os\">Put the Blame on Me\u003c/a>,” and \u003cem>A Man Called Adam\u003c/em>, starring Sammy Davis Jr. as an alcoholic, self-sabotaging singer and cornet player.\u003c/p>\n\u003cp>It also includes some films that, Muller admits, stretch the definition of film noir, including not one but two Doris Day movies.\u003c/p>\n\u003cfigure id=\"attachment_13985491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doris Day and Kirk Douglas in ‘Young Man With a Horn,’ based on the life of Bix Beiderbecke and directed by Michael Curtiz in 1950. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people see \u003cem>Love Me or Leave Me\u003c/em>, they assume ‘Oh, that’s a Doris Day musical,’” Muller says, adding that people have asked him: How can you possibly pass that off as noir?\u003c/p>\n\u003cp>“And you know, the answer is that Ruth Etting had a very, very noir life,” he explains.\u003c/p>\n\u003cp>Etting, a singer and actress who endured threats, a messy divorce and a murder attempt, is portrayed in \u003cem>Love Me Or Leave Me\u003c/em> not in gritty black and white, but full MGM Technicolor. Likewise, \u003cem>Pete Kelly’s Blues\u003c/em>, with Jack Webb and Janet Leigh, is also in color. But its story is grimy, and its stellar performances by Ella Fitzgerald and Peggy Lee fit the festival’s theme too well to be overlooked.\u003c/p>\n\u003cp>[aside postID='arts_13980003']Speaking of jazz performances, Muller’s lined up a schedule of them to precede each screening, with pianists, guitarists, tap dancers and singer Elizabeth Bougerol (she’s the one on the \u003ca href=\"https://www.noircity.com/\">festival poster\u003c/a> this year, spattered in blood). And he’s more than ready to get on stage and make converts of any noir-naysayers, like the woman behind me at the December festival preview at the Grand Lake, who saw the Elvis Presley film \u003cem>King Creole\u003c/em> flash on screen and remarked “Elvis?! Really?”\u003c/p>\n\u003cp>Muller’s response to that is straightforward: “Watch the movie! It’s gangsters, it’s everything. It’s a typical noir story except the guy is a rock singer.” While other Elvis movies were certified fluff for teenagers, he says, “this one has a serious crime element, it’s in black and white … Like, that’s \u003cem>the\u003c/em> Elvis noir movie.”\u003c/p>\n\u003cfigure id=\"attachment_13985490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-768x510.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dexter Gordon in ‘Round Midnight,’ directed by Bertrand Tavernier in 1986. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year also marks the festival’s fourth year at the Grand Lake after leaving its longtime home at the Castro Theatre, which reopens next month to host more concerts than films in a renovated auditorium without its original theater-style seating.\u003c/p>\n\u003cp>Does Muller ever miss the Castro? “I don’t think about it, honestly,” he says. “What I regret is that San Francisco has no opulent single-screen movie palaces anymore. Like, how is that even possible?”\u003c/p>\n\u003cp>Meanwhile, Muller’s happy at the Grand Lake, a glorious 1926 movie palace with a curtain, a Wurlitzer and a community of film lovers who huddle together in the dark each year for a few hours of treachery and deceit on screen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.noircity.com/\">Noir City 23: Face the Music!\u003c/a> runs Jan. 16–25, 2026 at the Grand Lake Theatre (3200 Grand Ave., Oakland). \u003ca href=\"https://www.noircity.com/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "This year's festival of betrayal and grit may stretch your conception of film noir at Oakland's Grand Lake Theatre.",
"status": "publish",
"parent": 0,
"modified": 1768519612,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 954
},
"headData": {
"title": "Music and All That Jazz at This Year’s Noir City Film Festival | KQED",
"description": "This year's festival of betrayal and grit may stretch your conception of film noir at Oakland's Grand Lake Theatre.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Music and All That Jazz at This Year’s Noir City Film Festival",
"datePublished": "2026-01-15T15:26:52-08:00",
"dateModified": "2026-01-15T15:26:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13985320",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13985320/noir-city-2026-music-jazz-murder-grand-lake-oakland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Treachery and deceit swirl all around us. Every awards season, it seems, there’s an \u003ca href=\"https://www.kqed.org/arts/tag/oscars\">Oscar\u003c/a> given to the right person, but for the wrong film. Sometimes it’s an actor (Al Pacino for \u003cem>Scent of a Woman\u003c/em>), sometimes it’s a director (Martin Scorcese for \u003cem>The Departed\u003c/em>).\u003c/p>\n\u003cp>And sometimes it’s a singer.\u003c/p>\n\u003cp>If you see any movie at this year’s \u003ca href=\"https://www.noircity.com/\">Noir City\u003c/a> festival, running Jan. 16–25 at Oakland’s \u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>, make it \u003cem>The Man With the Golden Arm\u003c/em>, starring Frank Sinatra. At the time a skinny crooner who’d just won Best Supporting Actor for \u003cem>From Here to Eternity\u003c/em>, Ol’ Blue Eyes turns in his actual greatest-ever acting performance as a jazz drummer \u003ca href=\"https://www.youtube.com/watch?v=MmqTc07linY\">desperately trying\u003c/a> — with girlfriend Kim Novak — to kick his debilitating heroin addiction.\u003c/p>\n\u003cfigure id=\"attachment_13985493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra and Kim Novak in ‘The Man With the Golden Arm,’ directed by Otto Preminger in 1955. \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Screening in a double feature at Noir City with \u003cem>The Sweet Smell of Success\u003c/em> (from the bygone age of 1957, when critics actually held power over performing artists’ fortunes), \u003cem>The Man With the Golden Arm\u003c/em>, with its pulsing, blaring jazz music by Elmer Bernstein, marked a sea change in film scores.\u003c/p>\n\u003cp>Eddie Muller knows the cliché all too well of a black-and-white noir movie from the 1940s, with its “a lonesome wailing saxophone.”\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>Except that brass instruments were hardly used at all in 1940s scores, Muller explains in a recent interview. “In the 1940s, Hollywood had their studio orchestras, and were still beholden to that classic European orchestral score approach,” he says. “But in the ’50s, that really changed, and \u003cem>The Man With the Golden Arm\u003c/em> had a lot to do with that.”\u003c/p>\n\u003cfigure id=\"attachment_13985492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985492\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ida Lupino as a lounge singer in ‘The Man I Love,’ directed by Raoul Walsh in 1947. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the kind of deep knowledge I anticipated from a conversation with Muller, who since 2003 has hosted Noir City, a celebration of all things double-crossing and murderous on the silver screen. Each year, the hugely popular festival follows a theme; the first year I attended and realized I’d found my people, it was newspapers. This year’s is music.\u003c/p>\n\u003cp>That includes films like \u003cem>Gilda\u003c/em>, with Rita Hayworth’s famous glove-removing nightclub performance of “\u003ca href=\"https://www.youtube.com/watch?v=hllEi7bJ4os\">Put the Blame on Me\u003c/a>,” and \u003cem>A Man Called Adam\u003c/em>, starring Sammy Davis Jr. as an alcoholic, self-sabotaging singer and cornet player.\u003c/p>\n\u003cp>It also includes some films that, Muller admits, stretch the definition of film noir, including not one but two Doris Day movies.\u003c/p>\n\u003cfigure id=\"attachment_13985491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doris Day and Kirk Douglas in ‘Young Man With a Horn,’ based on the life of Bix Beiderbecke and directed by Michael Curtiz in 1950. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people see \u003cem>Love Me or Leave Me\u003c/em>, they assume ‘Oh, that’s a Doris Day musical,’” Muller says, adding that people have asked him: How can you possibly pass that off as noir?\u003c/p>\n\u003cp>“And you know, the answer is that Ruth Etting had a very, very noir life,” he explains.\u003c/p>\n\u003cp>Etting, a singer and actress who endured threats, a messy divorce and a murder attempt, is portrayed in \u003cem>Love Me Or Leave Me\u003c/em> not in gritty black and white, but full MGM Technicolor. Likewise, \u003cem>Pete Kelly’s Blues\u003c/em>, with Jack Webb and Janet Leigh, is also in color. But its story is grimy, and its stellar performances by Ella Fitzgerald and Peggy Lee fit the festival’s theme too well to be overlooked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13980003",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of jazz performances, Muller’s lined up a schedule of them to precede each screening, with pianists, guitarists, tap dancers and singer Elizabeth Bougerol (she’s the one on the \u003ca href=\"https://www.noircity.com/\">festival poster\u003c/a> this year, spattered in blood). And he’s more than ready to get on stage and make converts of any noir-naysayers, like the woman behind me at the December festival preview at the Grand Lake, who saw the Elvis Presley film \u003cem>King Creole\u003c/em> flash on screen and remarked “Elvis?! Really?”\u003c/p>\n\u003cp>Muller’s response to that is straightforward: “Watch the movie! It’s gangsters, it’s everything. It’s a typical noir story except the guy is a rock singer.” While other Elvis movies were certified fluff for teenagers, he says, “this one has a serious crime element, it’s in black and white … Like, that’s \u003cem>the\u003c/em> Elvis noir movie.”\u003c/p>\n\u003cfigure id=\"attachment_13985490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-768x510.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dexter Gordon in ‘Round Midnight,’ directed by Bertrand Tavernier in 1986. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year also marks the festival’s fourth year at the Grand Lake after leaving its longtime home at the Castro Theatre, which reopens next month to host more concerts than films in a renovated auditorium without its original theater-style seating.\u003c/p>\n\u003cp>Does Muller ever miss the Castro? “I don’t think about it, honestly,” he says. “What I regret is that San Francisco has no opulent single-screen movie palaces anymore. Like, how is that even possible?”\u003c/p>\n\u003cp>Meanwhile, Muller’s happy at the Grand Lake, a glorious 1926 movie palace with a curtain, a Wurlitzer and a community of film lovers who huddle together in the dark each year for a few hours of treachery and deceit on screen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.noircity.com/\">Noir City 23: Face the Music!\u003c/a> runs Jan. 16–25, 2026 at the Grand Lake Theatre (3200 Grand Ave., Oakland). \u003ca href=\"https://www.noircity.com/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985320/noir-city-2026-music-jazz-murder-grand-lake-oakland",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_22313"
],
"tags": [
"arts_10278",
"arts_1201",
"arts_22393",
"arts_22117",
"arts_1143",
"arts_585"
],
"featImg": "arts_13985508",
"label": "source_arts_13985320"
},
"arts_13985442": {
"type": "posts",
"id": "arts_13985442",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985442",
"score": null,
"sort": [
1768496368000
]
},
"guestAuthors": [],
"slug": "mosswood-iggy-pop-bikini-kill-dead-milkmen-otoboke-beaver-lineup-oakland-2026",
"title": "Mosswood Lineup Announced: Iggy Pop, Bikini Kill, Dead Milkmen, Otoboke Beaver, More",
"publishDate": 1768496368,
"format": "standard",
"headTitle": "Mosswood Lineup Announced: Iggy Pop, Bikini Kill, Dead Milkmen, Otoboke Beaver, More | KQED",
"labelTerm": {},
"content": "\u003cp>The lineup for this year’s \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> festival in Oakland is here. Iggy Pop and Bikini Kill are headliners, along with a stacked schedule of openers that includes Otoboke Beaver, the Dead Milkmen, Corin Tucker and Carrie Brownstein of Sleater-Kinney with Fred Armisen, Scowl, Frightwig, the Dirtbombs and more.\u003c/p>\n\u003cp>Add the already announced \u003ca href=\"https://www.kqed.org/arts/13985125/pavement-mosswood-meltdown-2026\">festival “pre-party” with Pavement\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13978802/mosswood-meltdown-2025-john-waters-devo-bratmobile\">annual host John Waters\u003c/a>, and it’s safe to say: this is the biggest and most impressive Mosswood lineup yet.\u003c/p>\n\u003cp>Both Iggy Pop and Bikini Kill are returning to the annual trash-rock soirée in Mosswood Park. Perpetually shirtless \u003ca href=\"https://www.kqed.org/arts/13569504/burger-boogaloo-breakdown-lots-of-sun-and-hubbub-at-mosswood-park\">Iggy Pop played the park\u003c/a> in 2017, while \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill last appeared\u003c/a> in 2022. (Onstage, singer Kathleen Hanna, who also led a set by Le Tigre the following year, expressed special gratitude for the festival’s deliberate inclusivity.)\u003c/p>\n\u003cfigure id=\"attachment_13915728\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otoboke Beaver, four women from Kyoto, are \u003ca href=\"https://youtu.be/GBBpLwGy6mY?si=khFfCdLoJ5rs4S07\">one of the most exciting live bands on the planet\u003c/a>, and the Dead Milkmen, four men from Pennsylvania, are one of the funniest \u003ca href=\"https://www.tiktok.com/@buhrigit/video/7591536803849489694\">Camaro-driving\u003c/a> bands to ever sing about \u003ca href=\"https://youtu.be/fEp0aKCsrig?si=Z2BMtG8hov8XQ2BD\">what the queers are doing to the soil\u003c/a>. Meanwhile, under the name “The Return of Jackie & Judy,” Carrie Brownstein and Corin Tucker team up with drummer and funnyman Fred Armisen for \u003ca href=\"https://www.youtube.com/shorts/2mQEdAI7cdc\">a set of Ramones covers\u003c/a>. And Scowl? The Dirtbombs? \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>? It’s nuts.\u003c/p>\n\u003cp>If there’s anything missing this year, it’s the festival’s welcome tradition of undersung ’80s rap hitmakers; in recent years, that’s meant sets by L’Trimm, Egyptian Lover and J.J. Fad. \u003ca href=\"https://www.youtube.com/watch?v=2m-jzUyUQg4\">Maybe next year we can have Oaktown’s 3.5.7\u003c/a>. In the meantime, though, this is a damn fine lineup. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>General admission tickets, on sale now, are $129 for Saturday and $89 for Sunday; a weekend pass is $179. VIP tickets for the fancypants cost more, and the tickets to Pavement on Friday night are sold separately.\u003c/p>\n\u003cp>[aside postID='arts_13978802']For tickets and more information, see the \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown site\u003c/a>, and peep the full lineup and poster by the great \u003ca href=\"https://www.instagram.com/janelleblarg/\">Janelle Blarg\u003c/a> below. \u003c/p>\n\u003cp>\u003cstrong>Friday, July 17 (“Pre-party”) \u003c/strong>\u003cbr>\nPavement\u003cbr>\nWednesday\u003cbr>\nVivian Girls \u003c/p>\n\u003cp>\u003cstrong>Saturday, July 18 \u003c/strong>\u003cbr>\nIggy Pop\u003cbr>\nOtoboke Beaver\u003cbr>\nScowl\u003cbr>\nThe Spits\u003cbr>\nThe Dirtbombs\u003cbr>\nThe Fadeaways\u003cbr>\nPrimitive Ring \u003c/p>\n\u003cp>\u003cstrong>Sunday, July 19\u003c/strong>\u003cbr>\nBikini Kill\u003cbr>\nThe Return of Jackie and Judy\u003cbr>\nThe Dead Milkmen\u003cbr>\nFrankie and the Witch Fingers\u003cbr>\nFrightwig\u003cbr>\nLas Nubes \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg\" alt=\"\" width=\"1579\" height=\"2000\" class=\"aligncenter size-full wp-image-13985443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg 1579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-768x973.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-1213x1536.jpg 1213w\" sizes=\"auto, (max-width: 1579px) 100vw, 1579px\">\u003c/p>\n\n",
"blocks": [],
"excerpt": "Along with a Pavement ‘pre-party,’ this year's Mosswood Meltdown is the biggest and most impressive yet.",
"status": "publish",
"parent": 0,
"modified": 1768496972,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 421
},
"headData": {
"title": "Mosswood Lineup: Iggy Pop, Bikini Kill, Dead Milkmen, Otoboke Beaver, More | KQED",
"description": "Along with a Pavement ‘pre-party,’ this year's Mosswood Meltdown is the biggest and most impressive yet.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"socialTitle": "Mosswood Lineup: Iggy Pop, Bikini Kill, Dead Milkmen, Otoboke Beaver, More %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Mosswood Lineup Announced: Iggy Pop, Bikini Kill, Dead Milkmen, Otoboke Beaver, More",
"datePublished": "2026-01-15T08:59:28-08:00",
"dateModified": "2026-01-15T09:09:32-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13985442",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13985442/mosswood-iggy-pop-bikini-kill-dead-milkmen-otoboke-beaver-lineup-oakland-2026",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lineup for this year’s \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> festival in Oakland is here. Iggy Pop and Bikini Kill are headliners, along with a stacked schedule of openers that includes Otoboke Beaver, the Dead Milkmen, Corin Tucker and Carrie Brownstein of Sleater-Kinney with Fred Armisen, Scowl, Frightwig, the Dirtbombs and more.\u003c/p>\n\u003cp>Add the already announced \u003ca href=\"https://www.kqed.org/arts/13985125/pavement-mosswood-meltdown-2026\">festival “pre-party” with Pavement\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13978802/mosswood-meltdown-2025-john-waters-devo-bratmobile\">annual host John Waters\u003c/a>, and it’s safe to say: this is the biggest and most impressive Mosswood lineup yet.\u003c/p>\n\u003cp>Both Iggy Pop and Bikini Kill are returning to the annual trash-rock soirée in Mosswood Park. Perpetually shirtless \u003ca href=\"https://www.kqed.org/arts/13569504/burger-boogaloo-breakdown-lots-of-sun-and-hubbub-at-mosswood-park\">Iggy Pop played the park\u003c/a> in 2017, while \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill last appeared\u003c/a> in 2022. (Onstage, singer Kathleen Hanna, who also led a set by Le Tigre the following year, expressed special gratitude for the festival’s deliberate inclusivity.)\u003c/p>\n\u003cfigure id=\"attachment_13915728\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otoboke Beaver, four women from Kyoto, are \u003ca href=\"https://youtu.be/GBBpLwGy6mY?si=khFfCdLoJ5rs4S07\">one of the most exciting live bands on the planet\u003c/a>, and the Dead Milkmen, four men from Pennsylvania, are one of the funniest \u003ca href=\"https://www.tiktok.com/@buhrigit/video/7591536803849489694\">Camaro-driving\u003c/a> bands to ever sing about \u003ca href=\"https://youtu.be/fEp0aKCsrig?si=Z2BMtG8hov8XQ2BD\">what the queers are doing to the soil\u003c/a>. Meanwhile, under the name “The Return of Jackie & Judy,” Carrie Brownstein and Corin Tucker team up with drummer and funnyman Fred Armisen for \u003ca href=\"https://www.youtube.com/shorts/2mQEdAI7cdc\">a set of Ramones covers\u003c/a>. And Scowl? The Dirtbombs? \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>? It’s nuts.\u003c/p>\n\u003cp>If there’s anything missing this year, it’s the festival’s welcome tradition of undersung ’80s rap hitmakers; in recent years, that’s meant sets by L’Trimm, Egyptian Lover and J.J. Fad. \u003ca href=\"https://www.youtube.com/watch?v=2m-jzUyUQg4\">Maybe next year we can have Oaktown’s 3.5.7\u003c/a>. In the meantime, though, this is a damn fine lineup. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>General admission tickets, on sale now, are $129 for Saturday and $89 for Sunday; a weekend pass is $179. VIP tickets for the fancypants cost more, and the tickets to Pavement on Friday night are sold separately.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13978802",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>For tickets and more information, see the \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown site\u003c/a>, and peep the full lineup and poster by the great \u003ca href=\"https://www.instagram.com/janelleblarg/\">Janelle Blarg\u003c/a> below. \u003c/p>\n\u003cp>\u003cstrong>Friday, July 17 (“Pre-party”) \u003c/strong>\u003cbr>\nPavement\u003cbr>\nWednesday\u003cbr>\nVivian Girls \u003c/p>\n\u003cp>\u003cstrong>Saturday, July 18 \u003c/strong>\u003cbr>\nIggy Pop\u003cbr>\nOtoboke Beaver\u003cbr>\nScowl\u003cbr>\nThe Spits\u003cbr>\nThe Dirtbombs\u003cbr>\nThe Fadeaways\u003cbr>\nPrimitive Ring \u003c/p>\n\u003cp>\u003cstrong>Sunday, July 19\u003c/strong>\u003cbr>\nBikini Kill\u003cbr>\nThe Return of Jackie and Judy\u003cbr>\nThe Dead Milkmen\u003cbr>\nFrankie and the Witch Fingers\u003cbr>\nFrightwig\u003cbr>\nLas Nubes \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg\" alt=\"\" width=\"1579\" height=\"2000\" class=\"aligncenter size-full wp-image-13985443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg 1579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-768x973.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-1213x1536.jpg 1213w\" sizes=\"auto, (max-width: 1579px) 100vw, 1579px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985442/mosswood-iggy-pop-bikini-kill-dead-milkmen-otoboke-beaver-lineup-oakland-2026",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_22313"
],
"tags": [
"arts_10278",
"arts_3541",
"arts_21910",
"arts_1143",
"arts_913",
"arts_8246"
],
"featImg": "arts_13985445",
"label": "source_arts_13985442"
},
"arts_13985125": {
"type": "posts",
"id": "arts_13985125",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985125",
"score": null,
"sort": [
1767722347000
]
},
"guestAuthors": [],
"slug": "pavement-mosswood-meltdown-2026",
"title": "Pavement to Play Mosswood Meltdown 2026 in Oakland",
"publishDate": 1767722347,
"format": "standard",
"headTitle": "Pavement to Play Mosswood Meltdown 2026 in Oakland | KQED",
"labelTerm": {},
"content": "\u003cp>If you’ve been \u003ca href=\"https://www.nme.com/news/music/pavements-harness-your-hopes-goes-viral-on-tiktok-again-3616479\">harnessing your hopes\u003c/a> for Pavement to return to the Bay Area, today’s your lucky day: the band has been announced as the kickoff headliners for this year’s \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> festival in Oakland.\u003c/p>\n\u003cp>In what’s being called a “pre-party” for the long-running independent festival, Pavement will play in Mosswood Park on Friday, July 17, with openers Vivian Girls, Wednesday and more, hosted by film legend \u003ca href=\"https://www.kqed.org/arts/13978802/mosswood-meltdown-2025-john-waters-devo-bratmobile\">John Waters\u003c/a>. The festival will commence on Saturday and Sunday as usual; that full lineup will be announced in coming weeks.\u003c/p>\n\u003cp>[aside postID='arts_13978802']The Mosswood date marks the first Bay Area show in four years for Pavement. Founded in Stockton but now spread all over the country, the indie-rock stalwarts staunchly, if obtusely, reflected their Northern California roots in ragged-but-right aesthetics and songs like “Two States” and “Unfair.” (In 2022, during the band’s three-night run at the Masonic Auditorium in San Francisco, singer Stephen Malkmus changed the lyrics during “Fillmore Jive” to take a jovial swipe at Mill Valley.)\u003c/p>\n\u003cp>In 2024, the band released a surreal pseudo-documentary, \u003cem>Pavements\u003c/em>, that \u003ca href=\"https://www.reddit.com/r/pavement/comments/1kmkhic/saw_the_movie_and_am_so_confused/\">confused even their biggest fans\u003c/a>. Concurrently, \u003ca href=\"https://stereogum.com/2105993/pavement-harness-your-hopes-spotify/columns/sounding-board\">Pavement themselves have been perplexed at their obscure B-sides’ virality\u003c/a> on Spotify and TikTok.\u003c/p>\n\u003cp>In addition to expanding the festival to three days, the booking also represents a slight expansion of Mosswood’s garage-punk roots, planted when the festival was known as Burger Boogaloo; previous headliners over the years include Iggy Pop, Kim Gordon, X, the Mummies and Bikini Kill. But if the crowd climbing trees and craning their necks to \u003ca href=\"https://www.kqed.org/arts/13984468/best-concerts-2025-bay-area-live-music\">watch Devo through the fence\u003c/a> last year is any indication, no one’s really being too picky about genre. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets for the Friday Pavement show are \u003ca href=\"https://mosswoodmeltdown.com/\">on sale now\u003c/a>. Separate from regular Saturday–Sunday festival tickets, they cost $99 for general admission and $165 for VIP. \u003c/p>\n\n",
"blocks": [],
"excerpt": "The indie-rock icons, founded in Stockton, return to the Bay Area for a Friday night festival ‘pre-party.’",
"status": "publish",
"parent": 0,
"modified": 1767726487,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 333
},
"headData": {
"title": "Pavement to Play Mosswood Meltdown 2026 in Oakland | KQED",
"description": "The indie-rock icons, founded in Stockton, return to the Bay Area for a Friday night festival ‘pre-party.’",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Pavement to Play Mosswood Meltdown 2026 in Oakland",
"datePublished": "2026-01-06T09:59:07-08:00",
"dateModified": "2026-01-06T11:08:07-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13985125",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13985125/pavement-mosswood-meltdown-2026",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been \u003ca href=\"https://www.nme.com/news/music/pavements-harness-your-hopes-goes-viral-on-tiktok-again-3616479\">harnessing your hopes\u003c/a> for Pavement to return to the Bay Area, today’s your lucky day: the band has been announced as the kickoff headliners for this year’s \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> festival in Oakland.\u003c/p>\n\u003cp>In what’s being called a “pre-party” for the long-running independent festival, Pavement will play in Mosswood Park on Friday, July 17, with openers Vivian Girls, Wednesday and more, hosted by film legend \u003ca href=\"https://www.kqed.org/arts/13978802/mosswood-meltdown-2025-john-waters-devo-bratmobile\">John Waters\u003c/a>. The festival will commence on Saturday and Sunday as usual; that full lineup will be announced in coming weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13978802",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The Mosswood date marks the first Bay Area show in four years for Pavement. Founded in Stockton but now spread all over the country, the indie-rock stalwarts staunchly, if obtusely, reflected their Northern California roots in ragged-but-right aesthetics and songs like “Two States” and “Unfair.” (In 2022, during the band’s three-night run at the Masonic Auditorium in San Francisco, singer Stephen Malkmus changed the lyrics during “Fillmore Jive” to take a jovial swipe at Mill Valley.)\u003c/p>\n\u003cp>In 2024, the band released a surreal pseudo-documentary, \u003cem>Pavements\u003c/em>, that \u003ca href=\"https://www.reddit.com/r/pavement/comments/1kmkhic/saw_the_movie_and_am_so_confused/\">confused even their biggest fans\u003c/a>. Concurrently, \u003ca href=\"https://stereogum.com/2105993/pavement-harness-your-hopes-spotify/columns/sounding-board\">Pavement themselves have been perplexed at their obscure B-sides’ virality\u003c/a> on Spotify and TikTok.\u003c/p>\n\u003cp>In addition to expanding the festival to three days, the booking also represents a slight expansion of Mosswood’s garage-punk roots, planted when the festival was known as Burger Boogaloo; previous headliners over the years include Iggy Pop, Kim Gordon, X, the Mummies and Bikini Kill. But if the crowd climbing trees and craning their necks to \u003ca href=\"https://www.kqed.org/arts/13984468/best-concerts-2025-bay-area-live-music\">watch Devo through the fence\u003c/a> last year is any indication, no one’s really being too picky about genre. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets for the Friday Pavement show are \u003ca href=\"https://mosswoodmeltdown.com/\">on sale now\u003c/a>. Separate from regular Saturday–Sunday festival tickets, they cost $99 for general admission and $165 for VIP. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985125/pavement-mosswood-meltdown-2026",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_10278",
"arts_22068",
"arts_21788",
"arts_21910",
"arts_1143",
"arts_585",
"arts_700"
],
"featImg": "arts_13985126",
"label": "source_arts_13985125"
},
"arts_13984739": {
"type": "posts",
"id": "arts_13984739",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13984739",
"score": null,
"sort": [
1765489697000
]
},
"guestAuthors": [],
"slug": "can-i-get-a-witness-poetry-open-mic-oakland",
"title": "'Can I Get A Witness?' Open Mic Creates Community Through Commentary",
"publishDate": 1765489697,
"format": "standard",
"headTitle": "‘Can I Get A Witness?’ Open Mic Creates Community Through Commentary | KQED",
"labelTerm": {},
"content": "\u003cp>\u003ca href=\"https://www.instagram.com/debbiedollas_/\">Deborah Marie\u003c/a> is a poet who works at the intersection of art and public health.\u003c/p>\n\u003cp>By day, she’s an advocate, focused on quelling substance abuse by assisting people with recovery and prevention. By night, she’s a multi-talented creative and the founder of the \u003ca href=\"https://www.instagram.com/canigetawitness.oak/\">Can I Get A Witness?\u003c/a> event series.\u003c/p>\n\u003cp>Just like any other open mic event, Can I Get A Witness? creates a space for people to creatively share their poetry and testimonies. But it adds a bit of a twist, as audience members are also asked to discuss how the art makes them \u003cem>feel\u003c/em>.\u003c/p>\n\u003cp>“After each poet,” explains Deborah Marie during a recent phone call, “we don’t just clap and move on to the next person. We open up the floor and ask questions to the audience.”\u003c/p>\n\u003cp>As the host, she prompts attendees to discuss what touched them, struck a chord or relates to a shared experience.\u003c/p>\n\u003cfigure id=\"attachment_13984792\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1.jpg\" alt=\"An African-American woman with shoulder-length locs and all black attire stands on a stage in an intimate room as she hosts and open mic event.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hayward’s Deborah Marie is the founder and host of the Can I Get A Witness? event series in Oakland. \u003ccite>(Diana Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Surrounded by crystals and incense, Deborah Marie starts the open mic with a warm welcome and then urges event-goers to listen closely to the performers. After each piece, guests can respond by using “I” statements and speaking from their own perspective.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re not here to critique people’s work,” says Deborah Marie. Before the event even starts, she explains, community agreements are plainly stated on half-sheets of paper. The audience isn’t there to “problem solve.” Instead, she says, it’s about reflecting on people’s work and building community by way of sharing related experiences.\u003c/p>\n\u003cp>“It’s my idea of mixing live performance arts with peer support,” she says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The donation-based series is new, with only three events to date and a fourth one happening \u003ca href=\"https://partiful.com/e/vs2ek3lYc5sy2pWMRunu?source=share&utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnflleLPxktiwgWTBXCqSi4IGDAePVU00ifqogHjnhZvFtkYqxXYaBFVMHjr4_aem_ikRakmk8J2arQORPZRDD9Q\">this Sunday, Dec. 14\u003c/a> at \u003ca href=\"https://www.instagram.com/airtempleartspace/\">the Air Temple art gallery\u003c/a> in Oakland. But so far, Deborah Marie says, \u003c/span>\u003cspan style=\"font-weight: 400\">“i\u003c/span>\u003cspan style=\"font-weight: 400\">t’s been so magical,” adding that “it’s also been different each time.”\u003c/span>\u003c/p>\n\u003cp>At a past event, the discussion naturally flowed in and out of references to mental health and the media-fueled impossible standards that women — specifically Black women — face.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The conversation got to the point,” Deborah Marie recalls, “where someone just broke down crying.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Other audience members immediately supported that person and didn’t try to problem solve. Instead, they held space and allowed the person to open up about recently losing a friend to a mental health struggle. And that’s when Deborah Marie \u003c/span>\u003cspan style=\"font-weight: 400\">realized, “this is really something special if we can incubate this level of vulnerability in a performance space.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13984794\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-scaled.jpg\" alt=\"A woman kneels in the crowd as a performer recites a poem on stage during a live performance event. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Can I Get A Witness? host Deborah Marie squats low as a poet performs during a recent event at Mushin 2.0 in Oakland. \u003ccite>(Diana Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s an unexpected overlap between open mic events and sobriety-centered spaces, asserts Deborah Marie. There’s art, community and even support from those who’ve experienced similar things in life.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Conversely,\u003c/span> \u003cspan style=\"font-weight: 400\">Deborah Marie\u003c/span>\u003cspan style=\"font-weight: 400\"> says \u003ca href=\"https://www.kqed.org/news/tag/harm-reduction\">harm reduction\u003c/a> spaces, where people navigating addictions are guided toward safer methods of using, are “extremely clinical.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What harm reduction spaces and open mic circles are missing — but that sobriety centers or abstinence-based spaces often have — is social support. Through her work, Deborah Marie has seen the benefits of peer support groups and group outings. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Those social elements make a big difference in people’s quality of life,” says Deborah Marie, “whether you are or you aren’t using substances.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With that in mind, she asked herself, “How can we get a room full of people and give them that social support that you get when you choose abstinence? W\u003c/span>\u003cspan style=\"font-weight: 400\">ithout them having to choose abstinence.”\u003c/span>\u003c/p>\n\u003cp>She’s created a barrier-free event where people can share their work freely and be heard without being critiqued like they would be at, say, a writer’s salon. And, she adds, it’s not about the audience giving praise either. “That’s two sides of the same coin,” she says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ci>“\u003c/i>What we’re really aiming for,” Deborah Marie clarifies, explaining the flow of the event, “is like, you heard this [piece]. Now, how did it feel in your body? What did it bring up for you?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a room for the writers and a lounge for the listeners. A home for healers and a house for those seeking healing. There’s poetry for the people and commentary that creates community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And ultimately, Deborah Marie says, it’s an opportunity for us to \u003c/span>\u003cspan style=\"font-weight: 400\">ingest art, quiet the internal dialogue of critique and really delve into our own experiences while being around others.\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The next installment of the Can I Get A Witness? open mic series happens from 5 p.m. until 8 p.m. on Sunday, Dec. 14, at the Air Temple art gallery in Oakland (236 2nd St.). \u003ca href=\"https://partiful.com/e/vs2ek3lYc5sy2pWMRunu?source=share&utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnflleLPxktiwgWTBXCqSi4IGDAePVU00ifqogHjnhZvFtkYqxXYaBFVMHjr4_aem_ikRakmk8J2arQORPZRDD9Q\">RSVP here.\u003c/a> \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "By creatively sharing testimonies, artists are finding their people at this new open mic. ",
"status": "publish",
"parent": 0,
"modified": 1765497215,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 24,
"wordCount": 883
},
"headData": {
"title": "'Can I Get A Witness?' Open Mic Creates Community Through Commentary | KQED",
"description": "By creatively sharing testimonies, artists are finding their people at this new open mic. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Can I Get A Witness?' Open Mic Creates Community Through Commentary",
"datePublished": "2025-12-11T13:48:17-08:00",
"dateModified": "2025-12-11T15:53:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13984739",
"templateType": "standard",
"featuredImageType": "standard",
"subhead": "At the intersection of public health and creative arts is event host Deborah Marie",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13984739/can-i-get-a-witness-poetry-open-mic-oakland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/debbiedollas_/\">Deborah Marie\u003c/a> is a poet who works at the intersection of art and public health.\u003c/p>\n\u003cp>By day, she’s an advocate, focused on quelling substance abuse by assisting people with recovery and prevention. By night, she’s a multi-talented creative and the founder of the \u003ca href=\"https://www.instagram.com/canigetawitness.oak/\">Can I Get A Witness?\u003c/a> event series.\u003c/p>\n\u003cp>Just like any other open mic event, Can I Get A Witness? creates a space for people to creatively share their poetry and testimonies. But it adds a bit of a twist, as audience members are also asked to discuss how the art makes them \u003cem>feel\u003c/em>.\u003c/p>\n\u003cp>“After each poet,” explains Deborah Marie during a recent phone call, “we don’t just clap and move on to the next person. We open up the floor and ask questions to the audience.”\u003c/p>\n\u003cp>As the host, she prompts attendees to discuss what touched them, struck a chord or relates to a shared experience.\u003c/p>\n\u003cfigure id=\"attachment_13984792\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984792\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1.jpg\" alt=\"An African-American woman with shoulder-length locs and all black attire stands on a stage in an intimate room as she hosts and open mic event.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-1-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hayward’s Deborah Marie is the founder and host of the Can I Get A Witness? event series in Oakland. \u003ccite>(Diana Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Surrounded by crystals and incense, Deborah Marie starts the open mic with a warm welcome and then urges event-goers to listen closely to the performers. After each piece, guests can respond by using “I” statements and speaking from their own perspective.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re not here to critique people’s work,” says Deborah Marie. Before the event even starts, she explains, community agreements are plainly stated on half-sheets of paper. The audience isn’t there to “problem solve.” Instead, she says, it’s about reflecting on people’s work and building community by way of sharing related experiences.\u003c/p>\n\u003cp>“It’s my idea of mixing live performance arts with peer support,” she says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The donation-based series is new, with only three events to date and a fourth one happening \u003ca href=\"https://partiful.com/e/vs2ek3lYc5sy2pWMRunu?source=share&utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnflleLPxktiwgWTBXCqSi4IGDAePVU00ifqogHjnhZvFtkYqxXYaBFVMHjr4_aem_ikRakmk8J2arQORPZRDD9Q\">this Sunday, Dec. 14\u003c/a> at \u003ca href=\"https://www.instagram.com/airtempleartspace/\">the Air Temple art gallery\u003c/a> in Oakland. But so far, Deborah Marie says, \u003c/span>\u003cspan style=\"font-weight: 400\">“i\u003c/span>\u003cspan style=\"font-weight: 400\">t’s been so magical,” adding that “it’s also been different each time.”\u003c/span>\u003c/p>\n\u003cp>At a past event, the discussion naturally flowed in and out of references to mental health and the media-fueled impossible standards that women — specifically Black women — face.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The conversation got to the point,” Deborah Marie recalls, “where someone just broke down crying.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Other audience members immediately supported that person and didn’t try to problem solve. Instead, they held space and allowed the person to open up about recently losing a friend to a mental health struggle. And that’s when Deborah Marie \u003c/span>\u003cspan style=\"font-weight: 400\">realized, “this is really something special if we can incubate this level of vulnerability in a performance space.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13984794\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984794\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-scaled.jpg\" alt=\"A woman kneels in the crowd as a performer recites a poem on stage during a live performance event. \" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Deborah-Marie-3-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Can I Get A Witness? host Deborah Marie squats low as a poet performs during a recent event at Mushin 2.0 in Oakland. \u003ccite>(Diana Rose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s an unexpected overlap between open mic events and sobriety-centered spaces, asserts Deborah Marie. There’s art, community and even support from those who’ve experienced similar things in life.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Conversely,\u003c/span> \u003cspan style=\"font-weight: 400\">Deborah Marie\u003c/span>\u003cspan style=\"font-weight: 400\"> says \u003ca href=\"https://www.kqed.org/news/tag/harm-reduction\">harm reduction\u003c/a> spaces, where people navigating addictions are guided toward safer methods of using, are “extremely clinical.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What harm reduction spaces and open mic circles are missing — but that sobriety centers or abstinence-based spaces often have — is social support. Through her work, Deborah Marie has seen the benefits of peer support groups and group outings. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Those social elements make a big difference in people’s quality of life,” says Deborah Marie, “whether you are or you aren’t using substances.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With that in mind, she asked herself, “How can we get a room full of people and give them that social support that you get when you choose abstinence? W\u003c/span>\u003cspan style=\"font-weight: 400\">ithout them having to choose abstinence.”\u003c/span>\u003c/p>\n\u003cp>She’s created a barrier-free event where people can share their work freely and be heard without being critiqued like they would be at, say, a writer’s salon. And, she adds, it’s not about the audience giving praise either. “That’s two sides of the same coin,” she says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ci>“\u003c/i>What we’re really aiming for,” Deborah Marie clarifies, explaining the flow of the event, “is like, you heard this [piece]. Now, how did it feel in your body? What did it bring up for you?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a room for the writers and a lounge for the listeners. A home for healers and a house for those seeking healing. There’s poetry for the people and commentary that creates community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And ultimately, Deborah Marie says, it’s an opportunity for us to \u003c/span>\u003cspan style=\"font-weight: 400\">ingest art, quiet the internal dialogue of critique and really delve into our own experiences while being around others.\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The next installment of the Can I Get A Witness? open mic series happens from 5 p.m. until 8 p.m. on Sunday, Dec. 14, at the Air Temple art gallery in Oakland (236 2nd St.). \u003ca href=\"https://partiful.com/e/vs2ek3lYc5sy2pWMRunu?source=share&utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnflleLPxktiwgWTBXCqSi4IGDAePVU00ifqogHjnhZvFtkYqxXYaBFVMHjr4_aem_ikRakmk8J2arQORPZRDD9Q\">RSVP here.\u003c/a> \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13984739/can-i-get-a-witness-poetry-open-mic-oakland",
"authors": [
"11491"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_22313"
],
"tags": [
"arts_10278",
"arts_1143",
"arts_1496",
"arts_585"
],
"featImg": "arts_13984796",
"label": "source_arts_13984739"
},
"arts_13984664": {
"type": "posts",
"id": "arts_13984664",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13984664",
"score": null,
"sort": [
1765307308000
]
},
"guestAuthors": [],
"slug": "oakland-cultural-affairs-manager-reinstated",
"title": "Oakland Will Get a New Cultural Affairs Manager In 2026",
"publishDate": 1765307308,
"format": "standard",
"headTitle": "Oakland Will Get a New Cultural Affairs Manager In 2026 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The Oakland City Council on Dec. 2 voted to reinstate the city’s cultural affairs manager position, \u003ca href=\"https://oaklandside.org/2025/12/08/oakland-cultural-affairs-manager-reinstated-arts-fife/\">Oaklandside first reported\u003c/a>. The decision comes after artists campaigned for the city to rehire for the position, which oversees public arts funding and raises money for cultural programs through private grants.\u003c/p>\n\u003cp>After former Cultural Affairs Manager Roberto Bedoya retired in 2024, the City of Oakland eliminated his position in its latest budget, passed in June 2025. That move prompted an outcry from Oakland artists and leaders from prominent organizations like the Oakland Symphony, Oakland Ballet Company and Living Jazz, who argued that the cultural affairs manager serves as a crucial liaison between Oakland artists, the city and funders.\u003c/p>\n\u003cp>“As simply as I can put it, the arts will not get by without this position,” artist and activist Cat Brooks told \u003ca href=\"https://www.kqed.org/arts/13978209/oakland-arts-budget-cultural-affairs-manager-protests\">KQED in July\u003c/a> during a protest on the city hall steps. “Anyone who is in the Town, lives in the Town or loves the Town knows that arts and culture is our heartbeat. So if you’re interested in the heartbeat of Oakland, this position matters to you.”\u003c/p>\n\u003cfigure id=\"attachment_13978250\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Whang, chair of the Oakland Cultural Affairs Commission, gives public comment at an Oakland City Council meeting advocating against the elimination of the Cultural Affairs Manager position from the city budget in Oakland on July 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hired as the cultural affairs manager in 2016, Bedoya authored the city’s first cultural plan, lobbied against cuts to the arts and raised millions of dollars through public-private partnerships — which is crucial, supporters maintained, considering Oakland only allocates about \u003ca href=\"https://oaklandside.org/2023/05/09/oakland-budget-mayor-sheng-thao-arts-culture-funding/\">1% of its budget to the arts\u003c/a>. The cultural affairs manager also oversees the Cultural Affairs Commission, a volunteer body of arts advocates that advises the city.\u003c/p>\n\u003cp>“The most positive narrative that we have for Oakland right now is our culture,” said Cultural Commission Chair Vanessa Whang at a July 1 city council meeting. “That’s why we get mentioned in \u003cem>The New York Times\u003c/em>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>City spokesperson Jean Walsh told Oaklandside that more than 200 people from across the country applied for the Oakland cultural affairs manager position when applications opened from August to September. Walsh added that a panel of experts is interviewing finalists now and will make a hire in the next couple of weeks. The new cultural affairs manager will likely start in the new year. For now, existing program work is being managed by current city staff.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Artists say the city needs a leader to help secure funding and advocate for cultural programming. ",
"status": "publish",
"parent": 0,
"modified": 1765327463,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 424
},
"headData": {
"title": "Oakland Will Get a New Cultural Affairs Manager In 2026 | KQED",
"description": "Artists say the city needs a leader to help secure funding and advocate for cultural programming. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Oakland Will Get a New Cultural Affairs Manager In 2026",
"datePublished": "2025-12-09T11:08:28-08:00",
"dateModified": "2025-12-09T16:44:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13984664",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13984664/oakland-cultural-affairs-manager-reinstated",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oakland City Council on Dec. 2 voted to reinstate the city’s cultural affairs manager position, \u003ca href=\"https://oaklandside.org/2025/12/08/oakland-cultural-affairs-manager-reinstated-arts-fife/\">Oaklandside first reported\u003c/a>. The decision comes after artists campaigned for the city to rehire for the position, which oversees public arts funding and raises money for cultural programs through private grants.\u003c/p>\n\u003cp>After former Cultural Affairs Manager Roberto Bedoya retired in 2024, the City of Oakland eliminated his position in its latest budget, passed in June 2025. That move prompted an outcry from Oakland artists and leaders from prominent organizations like the Oakland Symphony, Oakland Ballet Company and Living Jazz, who argued that the cultural affairs manager serves as a crucial liaison between Oakland artists, the city and funders.\u003c/p>\n\u003cp>“As simply as I can put it, the arts will not get by without this position,” artist and activist Cat Brooks told \u003ca href=\"https://www.kqed.org/arts/13978209/oakland-arts-budget-cultural-affairs-manager-protests\">KQED in July\u003c/a> during a protest on the city hall steps. “Anyone who is in the Town, lives in the Town or loves the Town knows that arts and culture is our heartbeat. So if you’re interested in the heartbeat of Oakland, this position matters to you.”\u003c/p>\n\u003cfigure id=\"attachment_13978250\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Whang, chair of the Oakland Cultural Affairs Commission, gives public comment at an Oakland City Council meeting advocating against the elimination of the Cultural Affairs Manager position from the city budget in Oakland on July 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hired as the cultural affairs manager in 2016, Bedoya authored the city’s first cultural plan, lobbied against cuts to the arts and raised millions of dollars through public-private partnerships — which is crucial, supporters maintained, considering Oakland only allocates about \u003ca href=\"https://oaklandside.org/2023/05/09/oakland-budget-mayor-sheng-thao-arts-culture-funding/\">1% of its budget to the arts\u003c/a>. The cultural affairs manager also oversees the Cultural Affairs Commission, a volunteer body of arts advocates that advises the city.\u003c/p>\n\u003cp>“The most positive narrative that we have for Oakland right now is our culture,” said Cultural Commission Chair Vanessa Whang at a July 1 city council meeting. “That’s why we get mentioned in \u003cem>The New York Times\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>\n\u003cp>City spokesperson Jean Walsh told Oaklandside that more than 200 people from across the country applied for the Oakland cultural affairs manager position when applications opened from August to September. Walsh added that a panel of experts is interviewing finalists now and will make a hire in the next couple of weeks. The new cultural affairs manager will likely start in the new year. For now, existing program work is being managed by current city staff.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13984664/oakland-cultural-affairs-manager-reinstated",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_235"
],
"tags": [
"arts_2552",
"arts_10278",
"arts_22411",
"arts_1143"
],
"featImg": "arts_13978247",
"label": "arts"
}
},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "\"KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1MDAyODE4NTgz",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "\"KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9zZXJpZXMvamVycnlicm93bi9mZWVkL3BvZGNhc3Qv"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vc29sZG91dA"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM4MjU5Nzg2MzI3",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM0NTcwODQ2MjY2",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=oakland": {
"isFetching": false,
"latestQuery": {
"from": 0,
"postsToRender": 9
},
"tag": null,
"vitalsOnly": true,
"totalRequested": 9,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 739,
"relation": "eq"
},
"items": [
"arts_13986328",
"arts_13985813",
"arts_13985867",
"arts_13985679",
"arts_13985320",
"arts_13985442",
"arts_13985125",
"arts_13984739",
"arts_13984664"
]
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"pfsSessionReducer": {},
"subscriptionsReducer": {},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null,
"imageData": {
"ogImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"width": 1200,
"height": 630
},
"twImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
},
"twitterCard": "summary_large_image"
}
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"source_arts_13985320": {
"type": "terms",
"id": "source_arts_13985320",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13985442": {
"type": "terms",
"id": "source_arts_13985442",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13985125": {
"type": "terms",
"id": "source_arts_13985125",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13984739": {
"type": "terms",
"id": "source_arts_13984739",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_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_22382": {
"type": "terms",
"id": "arts_22382",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22382",
"found": true
},
"relationships": {},
"name": "rap music",
"slug": "rap-music",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "rap music | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22394,
"isLoading": false,
"link": "/arts/tag/rap-music"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21871": {
"type": "terms",
"id": "arts_21871",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21871",
"found": true
},
"relationships": {},
"featImg": null,
"name": "East Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "East Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21883,
"slug": "east-bay",
"isLoading": false,
"link": "/arts/interest/east-bay"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_21860": {
"type": "terms",
"id": "arts_21860",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21860",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21872,
"slug": "oakland",
"isLoading": false,
"link": "/arts/interest/oakland"
},
"arts_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_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_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_6252": {
"type": "terms",
"id": "arts_6252",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6252",
"found": true
},
"relationships": {},
"featImg": null,
"name": "oscar grant",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "oscar grant Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6264,
"slug": "oscar-grant",
"isLoading": false,
"link": "/arts/tag/oscar-grant"
},
"arts_5848": {
"type": "terms",
"id": "arts_5848",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5848",
"found": true
},
"relationships": {},
"featImg": null,
"name": "police brutality",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "police brutality Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5860,
"slug": "police-brutality",
"isLoading": false,
"link": "/arts/tag/police-brutality"
},
"arts_21863": {
"type": "terms",
"id": "arts_21863",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21863",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21875,
"slug": "news",
"isLoading": false,
"link": "/arts/interest/news"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_1998": {
"type": "terms",
"id": "arts_1998",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1998",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Boots Riley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Boots Riley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2010,
"slug": "boots-riley",
"isLoading": false,
"link": "/arts/tag/boots-riley"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_1420": {
"type": "terms",
"id": "arts_1420",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1420",
"found": true
},
"relationships": {},
"featImg": null,
"name": "jazz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "jazz Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1432,
"slug": "jazz",
"isLoading": false,
"link": "/arts/tag/jazz"
},
"arts_5371": {
"type": "terms",
"id": "arts_5371",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5371",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Kev Choice",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Kev Choice Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5383,
"slug": "kev-choice",
"isLoading": false,
"link": "/arts/tag/kev-choice"
},
"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_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_1201": {
"type": "terms",
"id": "arts_1201",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1201",
"found": true
},
"relationships": {},
"featImg": null,
"name": "film festivals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "film festivals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1213,
"slug": "film-festivals",
"isLoading": false,
"link": "/arts/tag/film-festivals"
},
"arts_22393": {
"type": "terms",
"id": "arts_22393",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22393",
"found": true
},
"relationships": {},
"name": "film noir",
"slug": "film-noir",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "film noir | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22405,
"isLoading": false,
"link": "/arts/tag/film-noir"
},
"arts_22117": {
"type": "terms",
"id": "arts_22117",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22117",
"found": true
},
"relationships": {},
"featImg": null,
"name": "grand lake theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "grand lake theatre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22129,
"slug": "grand-lake-theatre",
"isLoading": false,
"link": "/arts/tag/grand-lake-theatre"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_3541": {
"type": "terms",
"id": "arts_3541",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3541",
"found": true
},
"relationships": {},
"featImg": null,
"name": "lineup announcement",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "lineup announcement Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3553,
"slug": "lineup-announcement",
"isLoading": false,
"link": "/arts/tag/lineup-announcement"
},
"arts_21910": {
"type": "terms",
"id": "arts_21910",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21910",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mosswood Meltdown",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mosswood Meltdown Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21922,
"slug": "mosswood-meltdown",
"isLoading": false,
"link": "/arts/tag/mosswood-meltdown"
},
"arts_913": {
"type": "terms",
"id": "arts_913",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "913",
"found": true
},
"relationships": {},
"featImg": null,
"name": "punk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "punk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 931,
"slug": "punk",
"isLoading": false,
"link": "/arts/tag/punk"
},
"arts_8246": {
"type": "terms",
"id": "arts_8246",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8246",
"found": true
},
"relationships": {},
"featImg": null,
"name": "riot grrrl",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "riot grrrl Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8258,
"slug": "riot-grrrl",
"isLoading": false,
"link": "/arts/tag/riot-grrrl"
},
"arts_22068": {
"type": "terms",
"id": "arts_22068",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22068",
"found": true
},
"relationships": {},
"featImg": null,
"name": "festivals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "festivals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22080,
"slug": "festivals",
"isLoading": false,
"link": "/arts/tag/festivals"
},
"arts_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_700": {
"type": "terms",
"id": "arts_700",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "700",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ticket alert",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ticket alert Archives | KQED Arts",
"ogDescription": null
},
"ttid": 711,
"slug": "ticket-alert",
"isLoading": false,
"link": "/arts/tag/ticket-alert"
},
"arts_1496": {
"type": "terms",
"id": "arts_1496",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1496",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Poetry",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Poetry Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1508,
"slug": "poetry",
"isLoading": false,
"link": "/arts/tag/poetry"
},
"arts_2552": {
"type": "terms",
"id": "arts_2552",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2552",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts Funding",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Funding Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2564,
"slug": "arts-funding",
"isLoading": false,
"link": "/arts/tag/arts-funding"
},
"arts_22411": {
"type": "terms",
"id": "arts_22411",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22411",
"found": true
},
"relationships": {},
"name": "funding",
"slug": "funding",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "funding | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22423,
"isLoading": false,
"link": "/arts/tag/funding"
}
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"localStorageReducer": {},
"browserHistoryReducer": [],
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"location": {
"pathname": "/arts/tag/oakland",
"previousPathname": "/"
}
}
