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_13864936": {
"type": "attachments",
"id": "arts_13864936",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864936",
"found": true
},
"parent": 13864931,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin-160x88.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 88
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin.jpg",
"width": 1920,
"height": 1051
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin-1020x558.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 558
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin-1200x657.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 657
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin-1920x1051.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1051
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin-800x438.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 438
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170420945_JBalvin-768x420.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 420
}
},
"publishDate": 1566891274,
"modified": 1566891305,
"caption": "Bad Bunny and J Balvin perform onstage during the 2019 MTV Video Music Awards. ",
"description": "Bad Bunny and J Balvin perform onstage during the 2019 MTV Video Music Awards. ",
"title": "GettyImages-1170420945_JBalvin",
"credit": "Photo by Noam Galai/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13862145": {
"type": "attachments",
"id": "arts_13862145",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13862145",
"found": true
},
"parent": 13862138,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/GettyImages-611053854-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/GettyImages-611053854-160x112.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 112
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/GettyImages-611053854-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/GettyImages-611053854.jpg",
"width": 1024,
"height": 717
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/GettyImages-611053854-1020x714.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 714
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/GettyImages-611053854-800x560.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 560
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/07/GettyImages-611053854-768x538.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 538
}
},
"publishDate": 1564078403,
"modified": 1564078434,
"caption": "Daniel Ek, CEO of Swedish music streaming service Spotify, gestures as he makes a speech at a press conference in Tokyo on September 29, 2016. \nSpotify kicked off its services in Japan on September 29. ",
"description": "Daniel Ek, CEO of Swedish music streaming service Spotify, gestures as he makes a speech at a press conference in Tokyo on September 29, 2016. \nSpotify kicked off its services in Japan on September 29. ",
"title": "JAPAN-SWEDEN-MUSIC-INTERNET-TECHNOLOGY",
"credit": " TORU YAMANAKA/AFP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13858892": {
"type": "attachments",
"id": "arts_13858892",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13858892",
"found": true
},
"parent": 13858891,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-e1559664521152.jpg",
"width": 1920,
"height": 1440
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/06/gettyimages-1153474643-b0632d7eaaee1675a5690e094b260145ff02566d-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1559662610,
"modified": 1559664544,
"caption": "Apple CEO Tim Cook delivers the keynote address at the 2019 Apple Worldwide Developers Conference in San Jose, Calif., on Monday. The company announced that it's breaking up the iTunes application into three apps handling music, podcasts and TV.",
"description": "Apple CEO Tim Cook delivers the keynote address at the 2019 Apple Worldwide Developers Conference in San Jose, Calif., on Monday. The company announced that it's breaking up the iTunes application into three apps handling music, podcasts and TV.",
"title": "Apple CEO Tim Cook delivers the keynote address at the 2019 Apple Worldwide Developers Conference in San Jose, Calif., on Monday. The company announced that it's breaking up the iTunes application into three apps handling music, podcasts and TV.",
"credit": "Justin Sullivan/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13831891": {
"type": "attachments",
"id": "arts_13831891",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13831891",
"found": true
},
"parent": 13831890,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/gettyimages-170654931_wide-498f33003492957df56a9467f87eea26e1676390-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1525976511,
"modified": 1525976511,
"caption": null,
"description": "R. Kelly, performing in 2013. The singer was the first affected by new policies announced by Spotify on May 10, 2018.",
"title": "R. Kelly, performing in 2013. The singer was the first affected by new policies announced by Spotify on May 10, 2018.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13828564": {
"type": "attachments",
"id": "arts_13828564",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13828564",
"found": true
},
"parent": 13828563,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601.jpg",
"width": 1831,
"height": 1373
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-932454444-a7bdf689896274991661c5bb9a697fb7fdd6f601-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1522792839,
"modified": 1522793557,
"caption": "Spotify Founder and Chief Executive Officer Daniel Ek speaks onstage during Spotify Investor Day on March 15, 2018 in New York City.",
"description": "Spotify Founder and Chief Executive Officer Daniel Ek speaks onstage during Spotify Investor Day on March 15, 2018 in New York City.",
"title": "Spotify Founder and Chief Executive Officer Daniel Ek speaks onstage during Spotify Investor Day on March 15, 2018 in New York City.",
"credit": "Ilya S. Savenok/Getty Images for Spotify",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13825994": {
"type": "attachments",
"id": "arts_13825994",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13825994",
"found": true
},
"parent": 13825993,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/02/gettyimages-611053878_wide-d54fab852087a6680220daf7e791a1e4ee91fa78-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1519931631,
"modified": 1519931825,
"caption": "Daniel Ek, CEO of Swedish music streaming service Spotify, in Tokyo in 2016. The company is expected to go public late next month or early April.",
"description": "Daniel Ek, CEO of Swedish music streaming service Spotify, in Tokyo in 2016. The company is expected to go public late next month or early April.",
"title": "Daniel Ek, CEO of Swedish music streaming service Spotify, in Tokyo in 2016. The company is expected to go public late next month or early April.",
"credit": "Toru Yamanaka/AFP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13862138": {
"type": "authors",
"id": "byline_arts_13862138",
"meta": {
"override": true
},
"slug": "byline_arts_13862138",
"name": "Marissa R. Moss",
"isLoading": false
},
"byline_arts_13858891": {
"type": "authors",
"id": "byline_arts_13858891",
"meta": {
"override": true
},
"slug": "byline_arts_13858891",
"name": "Andrew Flanagan, Jasmine Garsd",
"isLoading": false
},
"byline_arts_13831890": {
"type": "authors",
"id": "byline_arts_13831890",
"meta": {
"override": true
},
"slug": "byline_arts_13831890",
"name": "Andrew Flanagan",
"isLoading": false
},
"byline_arts_13828563": {
"type": "authors",
"id": "byline_arts_13828563",
"meta": {
"override": true
},
"slug": "byline_arts_13828563",
"name": "Charles Lane",
"isLoading": false
},
"byline_arts_13825993": {
"type": "authors",
"id": "byline_arts_13825993",
"meta": {
"override": true
},
"slug": "byline_arts_13825993",
"name": "Andrew Flanagan",
"isLoading": false
},
"lblanco": {
"type": "authors",
"id": "11357",
"meta": {
"index": "authors_1716337520",
"id": "11357",
"found": true
},
"name": "Lina Blanco",
"firstName": "Lina",
"lastName": "Blanco",
"slug": "lblanco",
"email": "lblanco@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Lina was a Senior Engagement Platforms Manager for KQED News, producing engagement strategies on social media at \u003ca href=\"https://twitter.com/KQEDnews\">@KQEDNews, \u003c/a>via \u003ca href=\"https://www.kqed.org/about/newsletters/\">KQED's daily newsletter\u003c/a> as well as texting campaigns with KQED readers and listeners. She also co-produces for KQED's bilingual news hub \u003ca href=\"https://www.instagram.com/kqedenespanol/\">KQED en Español\u003c/a>.\r\n\r\nLina previously worked for \u003ca href=\"https://kqed.org/arts\">KQED Arts\u003c/a> — supporting audience engagement efforts on the weekly \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\">\u003cem>Rightnowish\u003c/em> \u003c/a>podcast, Webby-winning video series \u003ca href=\"https://www.kqed.org/if-cities-could-dance\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a>, and daily Arts & Culture reporting. She won a \u003ca href=\"https://www.kqed.org/pressroom/10884/murrow\">National 2019 Edward R. Murrow Award for Excellence in Social Media\u003c/a> for KQED's series \u003cem>The Hustle\u003c/em>.\r\n\r\nBefore KQED, Lina worked as a graphic designer and digital storytelling facilitator at the \u003ca href=\"https://www.nativehealth.org/\">Native American Health Center\u003c/a>.\r\n\r\nShe's mom to a senior Chihuahua (plus one black cat) and lives in West Sonoma County on a small farmstead.",
"avatar": "https://secure.gravatar.com/avatar/77ec326d67223c38a436b87bcfd2a2e8?s=600&d=mm&r=g",
"twitter": "LinaBlanco",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "about",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": []
},
{
"site": "perspectives",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Lina Blanco | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/77ec326d67223c38a436b87bcfd2a2e8?s=600&d=mm&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/77ec326d67223c38a436b87bcfd2a2e8?s=600&d=mm&r=g"
},
"isLoading": false,
"link": "/author/lblanco"
}
},
"pagesReducer": {
"arts_tag_spotify": {
"type": "terms",
"id": "arts_4136",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4136",
"score": 9.302365
},
"featImg": null,
"name": "Spotify",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Spotify Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4148,
"slug": "spotify",
"isLoading": false,
"title": "Spotify",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 2
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=spotify",
"seeMore": false,
"paginated": true,
"page": 2
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13864931": {
"type": "posts",
"id": "arts_13864931",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864931",
"score": null,
"sort": [
1566956073000
]
},
"guestAuthors": [],
"slug": "the-vmas-made-strides-with-latinx-representation-but-ultimately-fell-short",
"title": "The VMAs Made Strides with Latinx Representation—But Ultimately Fell Short",
"publishDate": 1566956073,
"format": "standard",
"headTitle": "The VMAs Made Strides with Latinx Representation—But Ultimately Fell Short | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>“Shout-out to the Latino gang out here,” said Colombian superstar J. Balvin as he and Spanish singer \u003cspan class=\"s1\">Rosalía\u003c/span> \u003ca href=\"https://twitter.com/MTV/status/1166168772094414848?s=20\" target=\"_blank\" rel=\"noopener\">accepted their VMA\u003c/a> for their summer hit, “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\" target=\"_blank\" rel=\"noopener\">Con Altura\u003c/a>.” “This is beautiful because this is my first time singing in Spanish right now for this audience.”\u003c/p>\n\u003cp>In 2019, Latinx artists continue to have a major impact on U.S. Billboard charts, and it’s evident that MTV is cashing in on the momentum, nominating Spanish-language songs in mainstream categories as well as Best Latin. Spanish-speaking heavy hitters stacked the nominations and performances at this year’s MTV Video Music Awards. First-time nominees included Boricua superstar Bad Bunny, pan-Latino boy band CNCO and power duo Karol G and Anuel AA. [aside postid='arts_13864915']\u003c/p>\n\u003cp>While last night’s award ceremony showed that MTV is making strides in amplifying Latinx voices, the media giant can do a better job of reflecting the diversity of the diaspora—particularly in amplifying \u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener\">Afro-Latinx artists\u003c/a>, who are (and have historically been) crucial to the development of reggaeton and urbano.\u003c/p>\n\u003cp>In one of the most elaborate performances of the night, second only to \u003ca href=\"https://www.kqed.org/arts/13864915/the-liberated-pop-future-missy-elliott-envisioned-is-now\" target=\"_blank\" rel=\"noopener\">Missy Elliott\u003c/a>‘s, Bad Bunny and J. Balvin repped Puerto Rico and Colombia on the televised stage. Their psychedelic performance of “Que Pretendes” felt like looking at the world through VR goggles. Amid technicolor cacti, emojis and whimsical animal characters, the duo coaxed us into their magical-realist world with a stretch of their comically inflated fingers. Shouting out their Latino Gang at the top of the performance to hordes of adoring fans, the duo’s live show proved to be a joyful highlight, and underscored the importance of the unprecedented Latinx representation at this year’s awards.\u003c/p>\n\u003cp>https://youtu.be/qOSSmwK-PR0\u003c/p>\n\u003cp>\u003cspan class=\"s1\">Sensing the gravity of this opportunity, J. Balvin used his screen time wisely. In an unscripted moment midway through his acceptance speech for the Best Latin award, he drew attention to the raging blaze in the Amazon that has \u003ca href=\"https://www.kqed.org/science/1946729/harrowing-photos-from-the-amazon-rainforest-wildfires\" target=\"_blank\" rel=\"noopener\">devastated millions of acres\u003c/a> of forest and displaced indigenous tribes. \u003c/span>\u003c/p>\n\u003cp>Yet, despite significantly increasing Latinx representation, the VMAs sometimes lacked nuance, as \u003cspan class=\"s1\">Rosalía, who is from Spain and not Latin America, was the co-recipient of the Best Latin title\u003c/span>\u003cspan class=\"s1\">. A big part of Rosalía’s appeal relies on her singing over Afro-Caribbean beats and referencing the diaspora’s aesthetics, like elaborate acrylic nails and laid edges. Although she’s undeniably talented and belonged at the VMAs, her win in the Latin category reveals how quickly the mainstream moves to privilege white artists over Afro-Latinx ones. Indeed, fellow chart-topper \u003ca href=\"https://www.npr.org/artists/570164401/ozuna\" target=\"_blank\" rel=\"noopener\">Ozuna\u003c/a>, who is Puerto Rican and Dominican, only got a minute of screen time during Rosalía’s performance. \u003c/span>\u003c/p>\n\u003cp>MTV’s shortcomings when it comes to allyship aren’t surprising when one examines the bigger picture: VMA sponsor Taco Bell’s \u003ca href=\"https://www.opensecrets.org/pacs/lookup2.php?strID=C00330118&cycle=2018\">TACO PAC\u003c/a> supported President Trump’s virulently anti-immigrant 2016 campaign.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3EDbDtVcmYA\u003c/p>\n\u003cp>While no one expects the VMAs to solve the world’s problems, MTV has the power to define the cultural narrative. As mainstream U.S. audiences finally begin to appreciate urbano and Latin trap, it’s critical consumers pay attention to which artists get recognition for these traditionally Afro-Latinx art forms. Although a move in the right direction, MTV’s attempts at representation fell short.\u003c/p>\n\u003cp>Still, for now, the simple fact that multiple artists performed in Spanish at the VMAs was a hopeful indicator that MTV is embracing Latinx artists. The opportunity to be themselves without translating their music sent a powerful message that the Latinx community deserves a seat at the table, and has for a long time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Spanish-language performances were a step in the right direction, but the award show also erased cultural nuance—particularly in the diaspora.",
"status": "publish",
"parent": 0,
"modified": 1726766313,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 655
},
"headData": {
"title": "The VMAs Made Strides with Latinx Representation—But Ultimately Fell Short | KQED",
"description": "Spanish-language performances were a step in the right direction, but the award show also erased cultural nuance—particularly in the diaspora.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The VMAs Made Strides with Latinx Representation—But Ultimately Fell Short",
"datePublished": "2019-08-27T18:34:33-07:00",
"dateModified": "2024-09-19T10:18:33-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13864931/the-vmas-made-strides-with-latinx-representation-but-ultimately-fell-short",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Shout-out to the Latino gang out here,” said Colombian superstar J. Balvin as he and Spanish singer \u003cspan class=\"s1\">Rosalía\u003c/span> \u003ca href=\"https://twitter.com/MTV/status/1166168772094414848?s=20\" target=\"_blank\" rel=\"noopener\">accepted their VMA\u003c/a> for their summer hit, “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\" target=\"_blank\" rel=\"noopener\">Con Altura\u003c/a>.” “This is beautiful because this is my first time singing in Spanish right now for this audience.”\u003c/p>\n\u003cp>In 2019, Latinx artists continue to have a major impact on U.S. Billboard charts, and it’s evident that MTV is cashing in on the momentum, nominating Spanish-language songs in mainstream categories as well as Best Latin. Spanish-speaking heavy hitters stacked the nominations and performances at this year’s MTV Video Music Awards. First-time nominees included Boricua superstar Bad Bunny, pan-Latino boy band CNCO and power duo Karol G and Anuel AA. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13864915",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While last night’s award ceremony showed that MTV is making strides in amplifying Latinx voices, the media giant can do a better job of reflecting the diversity of the diaspora—particularly in amplifying \u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener\">Afro-Latinx artists\u003c/a>, who are (and have historically been) crucial to the development of reggaeton and urbano.\u003c/p>\n\u003cp>In one of the most elaborate performances of the night, second only to \u003ca href=\"https://www.kqed.org/arts/13864915/the-liberated-pop-future-missy-elliott-envisioned-is-now\" target=\"_blank\" rel=\"noopener\">Missy Elliott\u003c/a>‘s, Bad Bunny and J. Balvin repped Puerto Rico and Colombia on the televised stage. Their psychedelic performance of “Que Pretendes” felt like looking at the world through VR goggles. Amid technicolor cacti, emojis and whimsical animal characters, the duo coaxed us into their magical-realist world with a stretch of their comically inflated fingers. Shouting out their Latino Gang at the top of the performance to hordes of adoring fans, the duo’s live show proved to be a joyful highlight, and underscored the importance of the unprecedented Latinx representation at this year’s awards.\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/qOSSmwK-PR0'\n title='//www.youtube.com/embed/qOSSmwK-PR0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan class=\"s1\">Sensing the gravity of this opportunity, J. Balvin used his screen time wisely. In an unscripted moment midway through his acceptance speech for the Best Latin award, he drew attention to the raging blaze in the Amazon that has \u003ca href=\"https://www.kqed.org/science/1946729/harrowing-photos-from-the-amazon-rainforest-wildfires\" target=\"_blank\" rel=\"noopener\">devastated millions of acres\u003c/a> of forest and displaced indigenous tribes. \u003c/span>\u003c/p>\n\u003cp>Yet, despite significantly increasing Latinx representation, the VMAs sometimes lacked nuance, as \u003cspan class=\"s1\">Rosalía, who is from Spain and not Latin America, was the co-recipient of the Best Latin title\u003c/span>\u003cspan class=\"s1\">. A big part of Rosalía’s appeal relies on her singing over Afro-Caribbean beats and referencing the diaspora’s aesthetics, like elaborate acrylic nails and laid edges. Although she’s undeniably talented and belonged at the VMAs, her win in the Latin category reveals how quickly the mainstream moves to privilege white artists over Afro-Latinx ones. Indeed, fellow chart-topper \u003ca href=\"https://www.npr.org/artists/570164401/ozuna\" target=\"_blank\" rel=\"noopener\">Ozuna\u003c/a>, who is Puerto Rican and Dominican, only got a minute of screen time during Rosalía’s performance. \u003c/span>\u003c/p>\n\u003cp>MTV’s shortcomings when it comes to allyship aren’t surprising when one examines the bigger picture: VMA sponsor Taco Bell’s \u003ca href=\"https://www.opensecrets.org/pacs/lookup2.php?strID=C00330118&cycle=2018\">TACO PAC\u003c/a> supported President Trump’s virulently anti-immigrant 2016 campaign.\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/3EDbDtVcmYA'\n title='//www.youtube.com/embed/3EDbDtVcmYA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While no one expects the VMAs to solve the world’s problems, MTV has the power to define the cultural narrative. As mainstream U.S. audiences finally begin to appreciate urbano and Latin trap, it’s critical consumers pay attention to which artists get recognition for these traditionally Afro-Latinx art forms. Although a move in the right direction, MTV’s attempts at representation fell short.\u003c/p>\n\u003cp>Still, for now, the simple fact that multiple artists performed in Spanish at the VMAs was a hopeful indicator that MTV is embracing Latinx artists. The opportunity to be themselves without translating their music sent a powerful message that the Latinx community deserves a seat at the table, and has for a long time.\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864931/the-vmas-made-strides-with-latinx-representation-but-ultimately-fell-short",
"authors": [
"11357"
],
"categories": [
"arts_69",
"arts_75"
],
"tags": [
"arts_6226",
"arts_2519",
"arts_1256",
"arts_5747",
"arts_8416",
"arts_596",
"arts_4244",
"arts_974",
"arts_4136",
"arts_4554"
],
"featImg": "arts_13864936",
"label": "arts"
},
"arts_13862138": {
"type": "posts",
"id": "arts_13862138",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13862138",
"score": null,
"sort": [
1564078818000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1564078818,
"format": "standard",
"title": "The Green New Deal: Where Spotify Stands, And Where Artists Wish It Would",
"headTitle": "The Green New Deal: Where Spotify Stands, And Where Artists Wish It Would | KQED",
"content": "\u003cp>If it weren’t for the signs reading “Spotify,” “Amazon,” “Google” and “Pandora” sitting atop four empty chairs on a warm Wednesday in April, the scene onstage at 3rd & Lindsley in Nashville would have looked like \u003ca href=\"http://431245457784103878.weebly.com/what-is-a-writers-round.html\">any\u003c/a> writer’s round. But this day wasn’t about creating and sharing music, as is custom at these events, reveling in each other’s catchy licks and smart lyrics — no one was happily drinking whiskey out of anything other than frustration. Instead, songwriters like Kenny Chesney producer Buddy Cannon and “Girl Crush” co-writer Liz Rose were gathered to hear about what they could do to push against these tech companies, whom they feel are aggressively lobbying in search of profit over songwriters’ financial well being. In that room in Nashville, Spotify seemed to be the biggest offender — after all, it’s the largest player in the streaming game, valued at over $26 billion dollars and \u003ca href=\"https://newsroom.spotify.com/company-info/\">with\u003c/a> 217 million monthly users. But Spotify didn’t show, leaving only an empty chair and a sign bearing its logo.\u003c/p>\n\u003cp>Assembled by the National Music Publishers Association (NMPA), with the Nashville Songwriters Association International (NSAI), that April town hall was in response to \u003ca href=\"https://www.billboard.com/articles/business/8502823/spotify-town-hall-royalty-board-rate-appeal-mark-beaven\">an unfulfilled promise\u003c/a> from Spotify itself to host a meeting intended to explain its motivations for appealing a 2018 ruling (\u003ca href=\"https://www.govinfo.gov/content/pkg/FR-2019-02-05/pdf/2019-00249.pdf\">finalized\u003c/a> earlier this year) mandating a sharp increase in royalty rates for songwriters’ compositions that would be phased in from 2018 to 2022. For many artists and creators, Spotify’s appeal felt particularly egregious, coming from a company that has consistently labeled itself as “artist-friendly” through programs like Secret Genius, which was meant to “celebrate” those same songwriters with awards and workshops.\u003c/p>\n\u003cp>[aside postID='arts_13857471' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/A-non-binary-person-using-a-laptop-at-work-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>A few months after that tech-free town hall, during CMA Fest, a much different version of Spotify hit Nashville, in the form of the now-annual Spotify House, which takes over Blake Shelton’s Ole Red bar downtown for the duration of the June festival, which showcases both new, superstar and legacy country acts. Artists — from Tanya Tucker to Lil Nas X and Billy Ray Cyrus to up-and-comers like Rachel Wammack, Tenille Townes and Dillon Charmichael — took the stage to a captive audience, and many gave ample shout-outs to Spotify and the role the company has played in their career thus far. Traditionalist country trio Midland hosted a brunch session to tout their podcast – an important new space for Spotify – while others chatted about the importance of making their way onto a coveted playlist, and how it has let them reach vast new audiences. The contempt that lingered over the songwriter town hall was nowhere to be found. This was a celebration of all that Spotify could offer to both fledgling and established country careers.\u003c/p>\n\u003cp>Spotify in 2019 is very much of this dual identity, a company (still) struggling with its reputation amongst artists, but also one immensely useful to both those artists and their fans. Since its launch in 2008, especially following its U.S. launch three years later, Spotify has tried to balance ideas of what constitutes being artist-friendly while simultaneously functioning as a global digital brand, an unprecedented and as-yet-unparalleled platform to share their music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Spotify is growing at a rapid pace, putting muscle into its podcasting business and betting big that this market will prove to be a major source of revenue down the line. The company seems to have realized that, in order to have a self-determined path, its future lies in audio it controls the rights to, or that it can secure for cheap. Podcasting is one of these vehicles; in February, Spotify announced the acquisition of two podcasting companies, Gimlet and Anchor, which Spotify Founder and CEO Daniel Ek wrote about in the company’s blog, \u003cem>For the Record\u003c/em>.\u003c/p>\n\u003cp>“Based on radio industry data, we believe it is a safe assumption that, over time, more than 20% of all Spotify listening will be non-music content,” \u003ca href=\"https://newsroom.spotify.com/2019-02-06/audio-first/\">he wrote\u003c/a> of the purchases, which were reported to have cost $340 million. “This means the potential to grow much faster with more original programming — and to differentiate Spotify by playing to what makes us unique — all with the goal of becoming the world’s number one audio platform.”\u003c/p>\n\u003cp>Shrewd business moves like this aren’t the only reasons for Spotify’s leading position — though, of course, they’ve been a major part of the equation. Equity deals with the major labels instilled confidence in Spotify early on (remember, these are companies that at the time had spent a decade watching their revenues recede, at least in part because of their deals with another notable tech company). Spotify has also managed to make itself an ally in almost every album cycle, providing a highly valued platform, \u003ca href=\"https://www.npr.org/2019/07/23/744224851/khalid-is-the-shooting-star-of-the-playlist-era\">shaping entire careers\u003c/a> and providing an infrastructure smaller labels or artists might not have access to otherwise.\u003c/p>\n\u003cp>“Programs like fan first campaigns, Spotify singles, spotlights, emails to followers, release radar playlists, canvas vids, and in particular ticket presales would be financially prohibitive for small labels, if not provided by Spotify,” says Jody Whelan, of John Prine’s Oh Boy Records. Those are capabilities that services like SoundCloud just haven’t been able to match.\u003c/p>\n\u003cp>Spotify is often the center of discussions around streaming (frequently synonymous with it, in fact) and takes the bulk of the heat both because it is distinctly a music product — unlike with Amazon and Google, where you can both listen to a record but also buy some antifreeze or find movie times — and because of its high number of users compared to other streaming companies. For artists-rights activists, it gets the most attention simply because it’s the most recognizable brand in the space. The visible target is the easiest one to hit.\u003c/p>\n\u003cp>But many of the company’s biggest stumbles are of its own making. This year has brought a mess of public relations missteps for the company (which, frankly, is no stranger to public relations nightmares) – including its \u003ca href=\"https://www.npr.org/sections/therecord/2017/06/01/531029555/in-43-million-settlement-spotify-forced-to-confront-a-persistent-problem\">battle\u003c/a> with songwriters, to a much-hyped launch in India that was fraught with roadblocks and delays, along with allegations of gender discrimination (which it has \u003ca href=\"https://www.theguardian.com/music/2018/sep/19/spotify-sued-gender-discrimination-equal-pay-violation\">denied\u003c/a>), not to mention the \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/16/611426272/spotifys-hateful-conduct-policy-drags-the-music-industry-into-the-metoo-moment\">“hateful conduct”\u003c/a> policy of 2018 and accusations that the company \u003ca href=\"https://www.npr.org/sections/therecord/2017/07/12/536670493/spotify-is-accused-of-creating-fake-artists-but-what-is-a-fake-artist\">created fake artists\u003c/a> to boost streams in 2017. In early April, songwriters from Secret Genius filed an \u003ca href=\"https://www.npr.org/2019/04/12/712777873/nile-rodgers-streaming-payments-songwriters-letter-spotify\">open letter\u003c/a> to Spotify to drop their appeal, a move that conjured up the day when Taylor Swift pulled her own music from the service (“Music is art, and art is important and rare,” she \u003ca href=\"https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219\">wrote\u003c/a> in a \u003cem>Wall Street Journal\u003c/em> op-ed. “Valuable things should be paid for” — Swift’s music is now back on Spotify, however).\u003c/p>\n\u003cp>“We know that you are not the only DSP appealing the Copyright Royalty Board (CRB) rate determination,” read the Secret Genius letter, signed by such top-tier writers as Shane McAnally, Teddy Geiger and Lori McKenna. “You are, however, the only provider that made us feel we were working to build a modern music industry together”\u003c/p>\n\u003cp>Earlier this month, Spotify encountered yet another misstep, with the release of an ad campaign that featured the slogan “Dance like no one is paying.” From a company paying out fractions of a cent per stream, it felt like a major sting.\u003c/p>\n\u003cp>[aside postID='arts_13852882' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-5.jpeg' target='_blank']\u003c/p>\n\u003cp>“When a company makes a lot of noise about championing artists, and those claims are rarely if ever reflected in the company’s policies or practices, it’s disappointing,” says Kasey Anderson, an independent artist based in Portland, Ore. In the Spotify world, the artist – and particularly the songwriter – often finds themselves as the lowest rung on a very long and complicated pole. But as Dr. Joshua Shepperd, assistant professor of Media and Communication at The Catholic University of America argues, that’s always been the point. It’s a company in the music space, doing the business of music, but is, as he puts it, a cloud service, more similar to Dropbox than Sub Pop. They are “aggregating the aggregating,” he says.\u003c/p>\n\u003cp>Indeed, Spotify was never really so much a music company as an Internet brand. “Spotify’s business model never benefited all musicians in the same manner but rather appeared — and still appears — highly skewed toward major stars and record labels, establishing a winner-takes-all market familiar from the traditional media industries,” goes an excerpt from the book \u003cem>Spotify Teardown, \u003c/em>an investigation into the mechanisms of Spotify by a Swedish research team comprising Maria Eriksson, Anna Johansson, Rasmus Fleischer, Pelle Snickars and Patrick Vonderau. The book argues that Spotify isn’t a media company per se – and, like Dr. Shepperd, asserts that it’s structurally much closer to a Facebook or Google, particularly in its digital business model. And looking around an event like the Spotify House, that assertion holds up.\u003c/p>\n\u003cp>“A distinction needs to be made between a digital music business and recorded music business,” says Dr. Shepperd. “Spotify happens to be focused on music. But it’s a digital business first, and not a studio or concert hall, and it brings in other limits and pressures and forces that have different policy influence. That’s part of the disconnect between what they claim to be doing, and what they are actually doing. How do you qualify what Spotify actually has to deal with? Well, in their minds, they are responding to digital law [in cases like the CRB appeal].” Like any company, record labels included, Spotify is trying to turn a profit and minimize overhead.\u003c/p>\n\u003cp>Spotify has, however, been taking some steps to improve their standing with artists. This year they \u003ca href=\"https://www.billboard.com/articles/business/8505197/chaku-zulu-spotify-head-of-artist-talent-relations-ludacris\">hired\u003c/a> former Disturbing Tha Peace Records founder Chaku Zulu to head Artist and Talent Relations, who touted “growth, representation and support” when he signed on to the company back in April. But many artists and songwriters feel like it’s a case of too little, too late.\u003c/p>\n\u003cp>“With so many things Spotify does, just because it ‘seems’ like a step in the right direction doesn’t mean it is,” says Anderson. “Theoretically, streaming platforms are a more democratic delivery service for listeners and artists alike, but we’re not seeing that reflected in playlist placement, and we’re certainly not seeing it reflected financially.”\u003c/p>\n\u003cp>It \u003cem>has\u003c/em> been a successful business plan for some of music’s biggest names and companies, if no one else. For the Swifts, the Ed Sheerans and the Florida Georgia Line/Bebe Rexha’s of this world, Spotify can mean career magic – if you are streaming songs by the hundreds of millions, there is good money to be made. For mainstream artists like Swift, that’s pressure to be more global than ever. For those somewhere in between indie and mainstream, it can mean feeling like the music needs to be created with those specific playlists in mind. “The promise of a huge global audience only works if you are making art that works for a huge global audience,” says Kevin Erickson of Future of Music.\u003c/p>\n\u003cp>It also leads to an almost existential question of what happens to music itself when it needs to appeal to as many people as possible. “The platform operates best for ‘hit songs’ in the major genres,” says Wheelan. “Artists are rewarded for creating inoffensive music that can be added to playlists they are targeting. And while that may not be a huge departure from how the music business always worked, in an environment where there is no room for differential pricing, non-commercial or experimental artists suffer more.”\u003c/p>\n\u003cp>In the land of Spotify playlists, it’s all about working well in the mix — and, as with radio, familiar and generic songs are often key, as are atmospheric ones suitable for “background listening.”\u003c/p>\n\u003cp>“I hear a lot of talk about what kind of songs work well for playlists, therefore what kind of songs to focus on writing,” says singer-songwriter Michaela Anne. “And/or making acoustic versions of album songs with the intent to capitalize on playlist placement. At the end of the day, everyone is trying to survive and playlists seem to be the latest way to make the most money. But does that always translate to fans and building a whole career?”\u003c/p>\n\u003cp>For artists like Anne, Spotify does have some benefits — but most come with caveats. “It feels like as an indie artist, we don’t have much choice but to embrace Spotify,” says Anne. “As a tool for listeners to discover new music, it is really awesome that people can happen upon new artists through playlists and discover pages. At the same time, it’s fascinating to watch how the changing technology affects not only how we listen and consume music but how and why artists create music.”\u003c/p>\n\u003cp>Those benefits are strong and distinct for independent labels like Oh Boy or Rounder Records. “The artist dashboard they’ve built could be improved, but as it stands now it offers incredible feedback on what songs are being consumed, where and by what demographic,” says Wheelan. “For younger artists, that definitely helps with touring, and for an artist like John [Prine], it could point to what song we need to make a video for or send to radio. Basically creates a focus group for us.”\u003c/p>\n\u003cp>[aside postID='arts_13855172' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1066489488_wide-61db819e4bcc6427baa4a059bc65430dc162ed9a-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>For managers like Charlie Pierce, who handles country artist and Pistol Annie Angaleena Presley and British-born Americana singer-songwriter Yola, it’s about seeing the bigger picture. “I think treating anybody in the business as a foe misses the opportunity to try and influence change in a positive way,” she says. “They provide a platform for many artists that they otherwise might not have. Independent artists do see an income stream that benefits the development of their work. There are challenges with the platform including recognition for writers, and diversity in playlists, [but] we can’t overcome those challenges by dismissing the weight of Spotify’s position in the new world of streaming we find ourselves in.”\u003c/p>\n\u003cp>Spotify doubled down on this position with Spotify for Artists, an analytics dashboard for artists and their teams to access real data from the service. It’s been a useful means for many, but also stirred its own controversy when it shut down its upload program, which let indie artists upload their own music instead of needing to hire a digital distributor. Still, the metrics it provides are generally valued as a prized commodity, even with imperfections.\u003c/p>\n\u003cp>For most labels – and even artists – that usefulness ends up keeping them squarely in the “friends” category. “Friend, but a slightly dysfunctional friendship,” says John Strohm, president of Rounder Records. “I was an early, full-throated advocate for subscription streaming as the way forward for the recorded music business, and it made a lot of people mad. So I feel vindicated, and my opinions haven’t changed much, but are more nuanced, and there are new challenges that have come from the head-spinning growth. I’m glad as f*** Spotify has real competition in that space.”\u003c/p>\n\u003cp>Competition – from Apple, Google, Amazon and other streaming platforms – is a good thing, argues Strohm, to help ensure innovation, especially as they “keep making tone-deaf moves that piss off artists and writers.” Ek seems to welcome this competition himself. “Spotify has done well defining the landscape in their favor,” says Dr. Shepperd. “Without trying to palpably own the entire market.”\u003c/p>\n\u003cp>But the pressure from artists still lingers. Spotify still hasn’t dropped its appeal to the CRB’s ruling, and there’s no indication that they will. And they’re busily focusing on new avenues rather than refining the ones they already have, making investments in those podcasts and more personalized playlists. For a company dependent on people listening, they might have to start doing a little bit more themselves.\u003c/p>\n\u003cp>“Artist input is crucial,” says Dr. Shepperd, “for tying what’s essentially just a cloud aggregation service to the actual product that it’s selling.”\u003c/p>\n\u003cp>As Swift once wrote in that infamous op-ed, “the music industry is not dying … It’s just coming alive.” In that balance, Spotify might truly find its groove – adolescence is always awkward, after all.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Marissa R. Moss is a Nashville-based freelance journalist whose work has appeared in \u003c/em>Rolling Stone\u003cem>, \u003c/em>Billboard\u003cem>, \u003c/em>Nashville Scene\u003cem>, \u003c/em>The Fader\u003cem>, \u003c/em>Pitchfork\u003cem> and other publications. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2970,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 36
},
"modified": 1705022487,
"excerpt": "Since launching stateside in 2011, the green logo of Spotify has come to be, almost like Kleenex, synonymous with the weird new world of streaming. So, dozens of billions of dollars later, what's up?",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Since launching stateside in 2011, the green logo of Spotify has come to be, almost like Kleenex, synonymous with the weird new world of streaming. So, dozens of billions of dollars later, what's up?",
"title": "The Green New Deal: Where Spotify Stands, And Where Artists Wish It Would | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Green New Deal: Where Spotify Stands, And Where Artists Wish It Would",
"datePublished": "2019-07-25T11:20:18-07:00",
"dateModified": "2024-01-11T17:21:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-green-new-deal-where-spotify-stands-and-where-artists-wish-it-would",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=745062630&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Marissa R. Moss",
"nprStoryDate": "Thu, 25 Jul 2019 06:00:00 -0400",
"nprLastModifiedDate": "Thu, 25 Jul 2019 08:20:39 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/07/25/745062630/the-green-new-deal-where-spotify-stands-and-where-artists-wish-it-would?ft=nprml&f=745062630",
"nprImageAgency": "Bloomberg via Getty Images",
"nprImageCredit": "Bloomberg",
"nprStoryId": "745062630",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 25 Jul 2019 08:20:00 -0400",
"path": "/arts/13862138/the-green-new-deal-where-spotify-stands-and-where-artists-wish-it-would",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If it weren’t for the signs reading “Spotify,” “Amazon,” “Google” and “Pandora” sitting atop four empty chairs on a warm Wednesday in April, the scene onstage at 3rd & Lindsley in Nashville would have looked like \u003ca href=\"http://431245457784103878.weebly.com/what-is-a-writers-round.html\">any\u003c/a> writer’s round. But this day wasn’t about creating and sharing music, as is custom at these events, reveling in each other’s catchy licks and smart lyrics — no one was happily drinking whiskey out of anything other than frustration. Instead, songwriters like Kenny Chesney producer Buddy Cannon and “Girl Crush” co-writer Liz Rose were gathered to hear about what they could do to push against these tech companies, whom they feel are aggressively lobbying in search of profit over songwriters’ financial well being. In that room in Nashville, Spotify seemed to be the biggest offender — after all, it’s the largest player in the streaming game, valued at over $26 billion dollars and \u003ca href=\"https://newsroom.spotify.com/company-info/\">with\u003c/a> 217 million monthly users. But Spotify didn’t show, leaving only an empty chair and a sign bearing its logo.\u003c/p>\n\u003cp>Assembled by the National Music Publishers Association (NMPA), with the Nashville Songwriters Association International (NSAI), that April town hall was in response to \u003ca href=\"https://www.billboard.com/articles/business/8502823/spotify-town-hall-royalty-board-rate-appeal-mark-beaven\">an unfulfilled promise\u003c/a> from Spotify itself to host a meeting intended to explain its motivations for appealing a 2018 ruling (\u003ca href=\"https://www.govinfo.gov/content/pkg/FR-2019-02-05/pdf/2019-00249.pdf\">finalized\u003c/a> earlier this year) mandating a sharp increase in royalty rates for songwriters’ compositions that would be phased in from 2018 to 2022. For many artists and creators, Spotify’s appeal felt particularly egregious, coming from a company that has consistently labeled itself as “artist-friendly” through programs like Secret Genius, which was meant to “celebrate” those same songwriters with awards and workshops.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13857471",
"hero": "https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/A-non-binary-person-using-a-laptop-at-work-1020x574.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few months after that tech-free town hall, during CMA Fest, a much different version of Spotify hit Nashville, in the form of the now-annual Spotify House, which takes over Blake Shelton’s Ole Red bar downtown for the duration of the June festival, which showcases both new, superstar and legacy country acts. Artists — from Tanya Tucker to Lil Nas X and Billy Ray Cyrus to up-and-comers like Rachel Wammack, Tenille Townes and Dillon Charmichael — took the stage to a captive audience, and many gave ample shout-outs to Spotify and the role the company has played in their career thus far. Traditionalist country trio Midland hosted a brunch session to tout their podcast – an important new space for Spotify – while others chatted about the importance of making their way onto a coveted playlist, and how it has let them reach vast new audiences. The contempt that lingered over the songwriter town hall was nowhere to be found. This was a celebration of all that Spotify could offer to both fledgling and established country careers.\u003c/p>\n\u003cp>Spotify in 2019 is very much of this dual identity, a company (still) struggling with its reputation amongst artists, but also one immensely useful to both those artists and their fans. Since its launch in 2008, especially following its U.S. launch three years later, Spotify has tried to balance ideas of what constitutes being artist-friendly while simultaneously functioning as a global digital brand, an unprecedented and as-yet-unparalleled platform to share their music.\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>Spotify is growing at a rapid pace, putting muscle into its podcasting business and betting big that this market will prove to be a major source of revenue down the line. The company seems to have realized that, in order to have a self-determined path, its future lies in audio it controls the rights to, or that it can secure for cheap. Podcasting is one of these vehicles; in February, Spotify announced the acquisition of two podcasting companies, Gimlet and Anchor, which Spotify Founder and CEO Daniel Ek wrote about in the company’s blog, \u003cem>For the Record\u003c/em>.\u003c/p>\n\u003cp>“Based on radio industry data, we believe it is a safe assumption that, over time, more than 20% of all Spotify listening will be non-music content,” \u003ca href=\"https://newsroom.spotify.com/2019-02-06/audio-first/\">he wrote\u003c/a> of the purchases, which were reported to have cost $340 million. “This means the potential to grow much faster with more original programming — and to differentiate Spotify by playing to what makes us unique — all with the goal of becoming the world’s number one audio platform.”\u003c/p>\n\u003cp>Shrewd business moves like this aren’t the only reasons for Spotify’s leading position — though, of course, they’ve been a major part of the equation. Equity deals with the major labels instilled confidence in Spotify early on (remember, these are companies that at the time had spent a decade watching their revenues recede, at least in part because of their deals with another notable tech company). Spotify has also managed to make itself an ally in almost every album cycle, providing a highly valued platform, \u003ca href=\"https://www.npr.org/2019/07/23/744224851/khalid-is-the-shooting-star-of-the-playlist-era\">shaping entire careers\u003c/a> and providing an infrastructure smaller labels or artists might not have access to otherwise.\u003c/p>\n\u003cp>“Programs like fan first campaigns, Spotify singles, spotlights, emails to followers, release radar playlists, canvas vids, and in particular ticket presales would be financially prohibitive for small labels, if not provided by Spotify,” says Jody Whelan, of John Prine’s Oh Boy Records. Those are capabilities that services like SoundCloud just haven’t been able to match.\u003c/p>\n\u003cp>Spotify is often the center of discussions around streaming (frequently synonymous with it, in fact) and takes the bulk of the heat both because it is distinctly a music product — unlike with Amazon and Google, where you can both listen to a record but also buy some antifreeze or find movie times — and because of its high number of users compared to other streaming companies. For artists-rights activists, it gets the most attention simply because it’s the most recognizable brand in the space. The visible target is the easiest one to hit.\u003c/p>\n\u003cp>But many of the company’s biggest stumbles are of its own making. This year has brought a mess of public relations missteps for the company (which, frankly, is no stranger to public relations nightmares) – including its \u003ca href=\"https://www.npr.org/sections/therecord/2017/06/01/531029555/in-43-million-settlement-spotify-forced-to-confront-a-persistent-problem\">battle\u003c/a> with songwriters, to a much-hyped launch in India that was fraught with roadblocks and delays, along with allegations of gender discrimination (which it has \u003ca href=\"https://www.theguardian.com/music/2018/sep/19/spotify-sued-gender-discrimination-equal-pay-violation\">denied\u003c/a>), not to mention the \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/16/611426272/spotifys-hateful-conduct-policy-drags-the-music-industry-into-the-metoo-moment\">“hateful conduct”\u003c/a> policy of 2018 and accusations that the company \u003ca href=\"https://www.npr.org/sections/therecord/2017/07/12/536670493/spotify-is-accused-of-creating-fake-artists-but-what-is-a-fake-artist\">created fake artists\u003c/a> to boost streams in 2017. In early April, songwriters from Secret Genius filed an \u003ca href=\"https://www.npr.org/2019/04/12/712777873/nile-rodgers-streaming-payments-songwriters-letter-spotify\">open letter\u003c/a> to Spotify to drop their appeal, a move that conjured up the day when Taylor Swift pulled her own music from the service (“Music is art, and art is important and rare,” she \u003ca href=\"https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219\">wrote\u003c/a> in a \u003cem>Wall Street Journal\u003c/em> op-ed. “Valuable things should be paid for” — Swift’s music is now back on Spotify, however).\u003c/p>\n\u003cp>“We know that you are not the only DSP appealing the Copyright Royalty Board (CRB) rate determination,” read the Secret Genius letter, signed by such top-tier writers as Shane McAnally, Teddy Geiger and Lori McKenna. “You are, however, the only provider that made us feel we were working to build a modern music industry together”\u003c/p>\n\u003cp>Earlier this month, Spotify encountered yet another misstep, with the release of an ad campaign that featured the slogan “Dance like no one is paying.” From a company paying out fractions of a cent per stream, it felt like a major sting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13852882",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-5.jpeg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When a company makes a lot of noise about championing artists, and those claims are rarely if ever reflected in the company’s policies or practices, it’s disappointing,” says Kasey Anderson, an independent artist based in Portland, Ore. In the Spotify world, the artist – and particularly the songwriter – often finds themselves as the lowest rung on a very long and complicated pole. But as Dr. Joshua Shepperd, assistant professor of Media and Communication at The Catholic University of America argues, that’s always been the point. It’s a company in the music space, doing the business of music, but is, as he puts it, a cloud service, more similar to Dropbox than Sub Pop. They are “aggregating the aggregating,” he says.\u003c/p>\n\u003cp>Indeed, Spotify was never really so much a music company as an Internet brand. “Spotify’s business model never benefited all musicians in the same manner but rather appeared — and still appears — highly skewed toward major stars and record labels, establishing a winner-takes-all market familiar from the traditional media industries,” goes an excerpt from the book \u003cem>Spotify Teardown, \u003c/em>an investigation into the mechanisms of Spotify by a Swedish research team comprising Maria Eriksson, Anna Johansson, Rasmus Fleischer, Pelle Snickars and Patrick Vonderau. The book argues that Spotify isn’t a media company per se – and, like Dr. Shepperd, asserts that it’s structurally much closer to a Facebook or Google, particularly in its digital business model. And looking around an event like the Spotify House, that assertion holds up.\u003c/p>\n\u003cp>“A distinction needs to be made between a digital music business and recorded music business,” says Dr. Shepperd. “Spotify happens to be focused on music. But it’s a digital business first, and not a studio or concert hall, and it brings in other limits and pressures and forces that have different policy influence. That’s part of the disconnect between what they claim to be doing, and what they are actually doing. How do you qualify what Spotify actually has to deal with? Well, in their minds, they are responding to digital law [in cases like the CRB appeal].” Like any company, record labels included, Spotify is trying to turn a profit and minimize overhead.\u003c/p>\n\u003cp>Spotify has, however, been taking some steps to improve their standing with artists. This year they \u003ca href=\"https://www.billboard.com/articles/business/8505197/chaku-zulu-spotify-head-of-artist-talent-relations-ludacris\">hired\u003c/a> former Disturbing Tha Peace Records founder Chaku Zulu to head Artist and Talent Relations, who touted “growth, representation and support” when he signed on to the company back in April. But many artists and songwriters feel like it’s a case of too little, too late.\u003c/p>\n\u003cp>“With so many things Spotify does, just because it ‘seems’ like a step in the right direction doesn’t mean it is,” says Anderson. “Theoretically, streaming platforms are a more democratic delivery service for listeners and artists alike, but we’re not seeing that reflected in playlist placement, and we’re certainly not seeing it reflected financially.”\u003c/p>\n\u003cp>It \u003cem>has\u003c/em> been a successful business plan for some of music’s biggest names and companies, if no one else. For the Swifts, the Ed Sheerans and the Florida Georgia Line/Bebe Rexha’s of this world, Spotify can mean career magic – if you are streaming songs by the hundreds of millions, there is good money to be made. For mainstream artists like Swift, that’s pressure to be more global than ever. For those somewhere in between indie and mainstream, it can mean feeling like the music needs to be created with those specific playlists in mind. “The promise of a huge global audience only works if you are making art that works for a huge global audience,” says Kevin Erickson of Future of Music.\u003c/p>\n\u003cp>It also leads to an almost existential question of what happens to music itself when it needs to appeal to as many people as possible. “The platform operates best for ‘hit songs’ in the major genres,” says Wheelan. “Artists are rewarded for creating inoffensive music that can be added to playlists they are targeting. And while that may not be a huge departure from how the music business always worked, in an environment where there is no room for differential pricing, non-commercial or experimental artists suffer more.”\u003c/p>\n\u003cp>In the land of Spotify playlists, it’s all about working well in the mix — and, as with radio, familiar and generic songs are often key, as are atmospheric ones suitable for “background listening.”\u003c/p>\n\u003cp>“I hear a lot of talk about what kind of songs work well for playlists, therefore what kind of songs to focus on writing,” says singer-songwriter Michaela Anne. “And/or making acoustic versions of album songs with the intent to capitalize on playlist placement. At the end of the day, everyone is trying to survive and playlists seem to be the latest way to make the most money. But does that always translate to fans and building a whole career?”\u003c/p>\n\u003cp>For artists like Anne, Spotify does have some benefits — but most come with caveats. “It feels like as an indie artist, we don’t have much choice but to embrace Spotify,” says Anne. “As a tool for listeners to discover new music, it is really awesome that people can happen upon new artists through playlists and discover pages. At the same time, it’s fascinating to watch how the changing technology affects not only how we listen and consume music but how and why artists create music.”\u003c/p>\n\u003cp>Those benefits are strong and distinct for independent labels like Oh Boy or Rounder Records. “The artist dashboard they’ve built could be improved, but as it stands now it offers incredible feedback on what songs are being consumed, where and by what demographic,” says Wheelan. “For younger artists, that definitely helps with touring, and for an artist like John [Prine], it could point to what song we need to make a video for or send to radio. Basically creates a focus group for us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13855172",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1066489488_wide-61db819e4bcc6427baa4a059bc65430dc162ed9a-1020x574.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For managers like Charlie Pierce, who handles country artist and Pistol Annie Angaleena Presley and British-born Americana singer-songwriter Yola, it’s about seeing the bigger picture. “I think treating anybody in the business as a foe misses the opportunity to try and influence change in a positive way,” she says. “They provide a platform for many artists that they otherwise might not have. Independent artists do see an income stream that benefits the development of their work. There are challenges with the platform including recognition for writers, and diversity in playlists, [but] we can’t overcome those challenges by dismissing the weight of Spotify’s position in the new world of streaming we find ourselves in.”\u003c/p>\n\u003cp>Spotify doubled down on this position with Spotify for Artists, an analytics dashboard for artists and their teams to access real data from the service. It’s been a useful means for many, but also stirred its own controversy when it shut down its upload program, which let indie artists upload their own music instead of needing to hire a digital distributor. Still, the metrics it provides are generally valued as a prized commodity, even with imperfections.\u003c/p>\n\u003cp>For most labels – and even artists – that usefulness ends up keeping them squarely in the “friends” category. “Friend, but a slightly dysfunctional friendship,” says John Strohm, president of Rounder Records. “I was an early, full-throated advocate for subscription streaming as the way forward for the recorded music business, and it made a lot of people mad. So I feel vindicated, and my opinions haven’t changed much, but are more nuanced, and there are new challenges that have come from the head-spinning growth. I’m glad as f*** Spotify has real competition in that space.”\u003c/p>\n\u003cp>Competition – from Apple, Google, Amazon and other streaming platforms – is a good thing, argues Strohm, to help ensure innovation, especially as they “keep making tone-deaf moves that piss off artists and writers.” Ek seems to welcome this competition himself. “Spotify has done well defining the landscape in their favor,” says Dr. Shepperd. “Without trying to palpably own the entire market.”\u003c/p>\n\u003cp>But the pressure from artists still lingers. Spotify still hasn’t dropped its appeal to the CRB’s ruling, and there’s no indication that they will. And they’re busily focusing on new avenues rather than refining the ones they already have, making investments in those podcasts and more personalized playlists. For a company dependent on people listening, they might have to start doing a little bit more themselves.\u003c/p>\n\u003cp>“Artist input is crucial,” says Dr. Shepperd, “for tying what’s essentially just a cloud aggregation service to the actual product that it’s selling.”\u003c/p>\n\u003cp>As Swift once wrote in that infamous op-ed, “the music industry is not dying … It’s just coming alive.” In that balance, Spotify might truly find its groove – adolescence is always awkward, after all.\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>Marissa R. Moss is a Nashville-based freelance journalist whose work has appeared in \u003c/em>Rolling Stone\u003cem>, \u003c/em>Billboard\u003cem>, \u003c/em>Nashville Scene\u003cem>, \u003c/em>The Fader\u003cem>, \u003c/em>Pitchfork\u003cem> and other publications. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13862138/the-green-new-deal-where-spotify-stands-and-where-artists-wish-it-would",
"authors": [
"byline_arts_13862138"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_10589",
"arts_596",
"arts_4136",
"arts_6427",
"arts_1935"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13862145",
"label": "arts_137"
},
"arts_13858891": {
"type": "posts",
"id": "arts_13858891",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13858891",
"score": null,
"sort": [
1559664720000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1559664720,
"format": "standard",
"title": "iTunes' Death Is All About How We Listen To Music Today",
"headTitle": "iTunes’ Death Is All About How We Listen To Music Today | KQED",
"content": "\u003cp>After 18 years, Apple is killing iTunes — well, sort of. The media management software for most Mac users (and many Windows users) is being broken into separate pieces for separate uses: Music, podcasts and television will soon have \u003ca href=\"https://www.apple.com/newsroom/2019/06/apple-previews-macos-catalina/\">their own apps\u003c/a> on the new Catalina Mac operating system.\u003c/p>\n\u003cp>Apple announced the move on Monday along with new hardware, including a new Mac Pro and Pro Display XDR, and entertainment and lifestyle features.\u003cbr>\n[aside postID='arts_13852882' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-1020x680.jpeg' target='_blank']\u003cbr>\nBut the company’s presentation, at its developers conference in San Jose, Calif., offered a lot of suspense around iTunes. “Tell me about iTunes or leave me alone while I feverishly try to back up my library lmao,” \u003ca href=\"https://twitter.com/tonyisapoet/status/1135617456276291584\">tweeted\u003c/a> one user.\u003c/p>\n\u003cp>Apple laid to rest a misapprehension that the iTunes Store (where users purchase songs and albums for download) would be going away in favor of Apple Music (the company’s streaming service). The iTunes Store will remain, as will the music that people bought from it. But Apple did address a long-running complaint from users of the iTunes desktop app: mainly, that it’s trying to be too many things at once.\u003c/p>\n\u003cp>At Monday’s conference, Craig Federighi, Apple’s senior vice president of software engineering, joked about this. “Customers love iTunes and everything it can do,” he said, before sarcastically asking: “But if there’s one thing we hear over and over, it’s ‘Can iTunes do even more?’ ”\u003c/p>\n\u003cp>Apple announced it will be launching a new stand-alone music app for Mac, as well as a new and improved TV app and a podcast app. And it said device syncing will now be handled in the Finder, the macOS file manager. Apple did not say how syncing iPhones or iPads would be handled on Windows machines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>iTunes will continue as a music store, but the new music app will be more closely aligned with Apple’s music-streaming service.\u003c/p>\n\u003cp>Apple has seen a \u003ca href=\"https://www.businessinsider.com/apple-biggest-iphone-sales-decline-in-3-years-gartner-says-2019-2\">decline in iPhone sales\u003c/a> due to a confluence of factors, including fewer buyers in China and an extended upgrade cycle. The company has been rebranding itself as a streaming-entertainment provider.\u003c/p>\n\u003cp>[aside postID='arts_13849625' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/01/Pandora.MAIN_-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>And it has made no secret of looking to grow its \u003ca href=\"https://www.npr.org/2019/03/25/706513097/apple-debuts-streaming-video-payment-card-and-news-subscription-services\">services businesses\u003c/a>, including the Apple Music streaming service, a forthcoming TV-streaming service and a magazine subscription service.\u003c/p>\n\u003cp>So is owning music becoming a thing of the past?\u003c/p>\n\u003cp>Streaming made up \u003ca href=\"https://www.digitalmusicnews.com/wp-content/uploads/2016/01/RIAA-2018-Year-End-Music-Industry-Revenue-Report.pdf\">75% of the music industry’s revenue last year\u003c/a>. It’s so lucrative that music streaming is where one of the fiercest battles against Apple’s alleged monopoly is being waged. In March, Spotify announced it had filed an antitrust complaint against Apple with the European Commission. Spotify says the 30% commission on all App Store purchases is unfair because it forces Spotify users to pay more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These accusations aren’t just happening in Europe. In the U.S., the Supreme Court recently ruled that a class action lawsuit accusing Apple of operating an App Store monopoly can proceed.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 561,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705026099,
"excerpt": "After 18 years, Apple is killing iTunes — sort of. The software is being broken into separate pieces for separate uses on Mac computers: Music, podcasts and TV will soon have their own apps.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "After 18 years, Apple is killing iTunes — sort of. The software is being broken into separate pieces for separate uses on Mac computers: Music, podcasts and TV will soon have their own apps.",
"title": "iTunes' Death Is All About How We Listen To Music Today | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "iTunes' Death Is All About How We Listen To Music Today",
"datePublished": "2019-06-04T09:12:00-07:00",
"dateModified": "2024-01-11T18:21:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "itunes-death-is-all-about-how-we-listen-to-music-today",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=729290123&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Flanagan, Jasmine Garsd",
"nprStoryDate": "Mon, 03 Jun 2019 17:10:27 -0400",
"nprLastModifiedDate": "Tue, 04 Jun 2019 09:59:15 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/06/03/729290123/itunes-death-is-all-about-how-we-listen-to-music-today?ft=nprml&f=729290123",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Justin Sullivan",
"nprStoryId": "729290123",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 04 Jun 2019 09:59:00 -0400",
"path": "/arts/13858891/itunes-death-is-all-about-how-we-listen-to-music-today",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After 18 years, Apple is killing iTunes — well, sort of. The media management software for most Mac users (and many Windows users) is being broken into separate pieces for separate uses: Music, podcasts and television will soon have \u003ca href=\"https://www.apple.com/newsroom/2019/06/apple-previews-macos-catalina/\">their own apps\u003c/a> on the new Catalina Mac operating system.\u003c/p>\n\u003cp>Apple announced the move on Monday along with new hardware, including a new Mac Pro and Pro Display XDR, and entertainment and lifestyle features.\u003cbr>\n\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13852882",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-1020x680.jpeg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\nBut the company’s presentation, at its developers conference in San Jose, Calif., offered a lot of suspense around iTunes. “Tell me about iTunes or leave me alone while I feverishly try to back up my library lmao,” \u003ca href=\"https://twitter.com/tonyisapoet/status/1135617456276291584\">tweeted\u003c/a> one user.\u003c/p>\n\u003cp>Apple laid to rest a misapprehension that the iTunes Store (where users purchase songs and albums for download) would be going away in favor of Apple Music (the company’s streaming service). The iTunes Store will remain, as will the music that people bought from it. But Apple did address a long-running complaint from users of the iTunes desktop app: mainly, that it’s trying to be too many things at once.\u003c/p>\n\u003cp>At Monday’s conference, Craig Federighi, Apple’s senior vice president of software engineering, joked about this. “Customers love iTunes and everything it can do,” he said, before sarcastically asking: “But if there’s one thing we hear over and over, it’s ‘Can iTunes do even more?’ ”\u003c/p>\n\u003cp>Apple announced it will be launching a new stand-alone music app for Mac, as well as a new and improved TV app and a podcast app. And it said device syncing will now be handled in the Finder, the macOS file manager. Apple did not say how syncing iPhones or iPads would be handled on Windows machines.\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>iTunes will continue as a music store, but the new music app will be more closely aligned with Apple’s music-streaming service.\u003c/p>\n\u003cp>Apple has seen a \u003ca href=\"https://www.businessinsider.com/apple-biggest-iphone-sales-decline-in-3-years-gartner-says-2019-2\">decline in iPhone sales\u003c/a> due to a confluence of factors, including fewer buyers in China and an extended upgrade cycle. The company has been rebranding itself as a streaming-entertainment provider.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13849625",
"hero": "https://ww2.kqed.org/wp-content/uploads/sites/2/2019/01/Pandora.MAIN_-1020x574.jpg",
"target": "_blank",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it has made no secret of looking to grow its \u003ca href=\"https://www.npr.org/2019/03/25/706513097/apple-debuts-streaming-video-payment-card-and-news-subscription-services\">services businesses\u003c/a>, including the Apple Music streaming service, a forthcoming TV-streaming service and a magazine subscription service.\u003c/p>\n\u003cp>So is owning music becoming a thing of the past?\u003c/p>\n\u003cp>Streaming made up \u003ca href=\"https://www.digitalmusicnews.com/wp-content/uploads/2016/01/RIAA-2018-Year-End-Music-Industry-Revenue-Report.pdf\">75% of the music industry’s revenue last year\u003c/a>. It’s so lucrative that music streaming is where one of the fiercest battles against Apple’s alleged monopoly is being waged. In March, Spotify announced it had filed an antitrust complaint against Apple with the European Commission. Spotify says the 30% commission on all App Store purchases is unfair because it forces Spotify users to pay more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These accusations aren’t just happening in Europe. In the U.S., the Supreme Court recently ruled that a class action lawsuit accusing Apple of operating an App Store monopoly can proceed.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13858891/itunes-death-is-all-about-how-we-listen-to-music-today",
"authors": [
"byline_arts_13858891"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_3397",
"arts_6425",
"arts_746",
"arts_596",
"arts_4136",
"arts_1935"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13858892",
"label": "arts_137"
},
"arts_13831890": {
"type": "posts",
"id": "arts_13831890",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13831890",
"score": null,
"sort": [
1525976931000
]
},
"guestAuthors": [],
"slug": "starting-with-r-kelly-spotify-pulls-artists-from-playlists-for-hateful-conduct",
"title": "Starting With R. Kelly, Spotify Pulls Artists From Playlists For 'Hateful Conduct'",
"publishDate": 1525976931,
"format": "standard",
"headTitle": "Starting With R. Kelly, Spotify Pulls Artists From Playlists For ‘Hateful Conduct’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The music streaming giant Spotify, with 75 million subscribers and 170 million monthly users, announced a new policy this morning regarding music that it believes to contain “hate content.” Alongside the announcement, Spotify also confirmed that one of the first artists to be affected by the policy would be R. Kelly, the R&B singer who has been accused of extensive sexual misconduct dating back nearly two decades, but whose actions have been the subject of renewed focus in the last year. In April, Kelly \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">was condemned\u003c/a> by a group of women of color within the Time’s Up movement, who called for labels and streaming services — including Spotify — to cut ties with the singer.\u003c/p>\n\u003cp>“We are removing R. Kelly’s music from all Spotify owned and operated playlists and algorithmic recommendations such as Discover Weekly. His music will still be available on the service, but Spotify will not actively promote it,” a further statement from Spotify provided to NPR reads. “We don’t censor content because of an artist’s or creator’s behavior, but we want our editorial decisions — what we choose to program — to reflect our values. When an artist or creator does something that is especially harmful or hateful, it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify says it will take a three-tiered approach to policing hate on its platform. First, it is partnering with several advocacy groups — its announcement lists the Southern Poverty Law Center, The Anti-Defamation League, Color Of Change, Showing Up for Racial Justice, GLAAD, Muslim Advocates and the International Network Against Cyber Hate. (The groups will serve as “advisors,” according to a company spokesperson.) Second, it is introducing an algorithmic internal monitor called AudioWatch. And third, a hear-something-say-something approach, giving people the option of \u003ca href=\"https://support.spotify.com/us/contact-spotify-support/\">reporting content\u003c/a> as well.\u003c/p>\n\u003cp>“We believe in openness, diversity, tolerance and respect, and we want to promote those values through music and the creative arts,” \u003ca href=\"https://artists.spotify.com/faq/policies#hate-content-and-hateful-conduct\">its policy\u003c/a> begins. It goes on to define hate speech on the platform as any that promotes or incites violence towards people or groups because of “race, religion, gender identity, sex, ethnicity, nationality, sexual orientation, veteran status, or disability.” The company also states that when “an artist or creator does something that is especially harmful or hateful (for example, violence against children and sexual violence), it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify has also removed the rapper XXXTentacion — who is \u003ca href=\"https://pitchfork.com/thepitch/xxxtentacions-reported-victim-details-grim-pattern-of-abuse-in-testimony/\">facing charges\u003c/a> of domestic abuse in Florida — from its popular Rap Caviar playlist, which, \u003ca href=\"https://www.nytimes.com/2018/05/10/arts/music/rkelly-spotify-accusations-xxxtentacion.html\">according to a report\u003c/a> by \u003cem>The New York Times\u003c/em>, included a song by the rapper as recently as Wednesday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The punishment is a potentially impactful one on artists’ (and labels’, and managers’) bottom lines. The artist-anointing and sustaining powers of Spotify’s playlists and algorithmic recommendations are \u003ca href=\"https://www.wired.com/2017/05/secret-hit-making-power-spotify-playlist/\">well-known\u003c/a> — in a service with some 35 million songs, there’s little option for stumbling into things without them. High visibility on the platform can easily translate into success elsewhere.\u003c/p>\n\u003cp>“It is important that those who market the work of problematic entertainers stand, in the end, with their company’s collective values,” writes Kenyette Tisha Barnes, a co-founder of the #MuteRKelly campaign, in an email to NPR. “Although Spotify did state that the decision was not solely due to public pressure from #MuteRKelly, one can infer that the public outrage and support from #MeToo and #TimesUp, was in part, influential in the decision to select R. Kelly as the first artist to be removed under this new policy. We find this decision by Spotify a victory, and is just another step in our mission.”\u003c/p>\n\u003cp>With the announcement, Spotify has potentially increased the pressure on other companies in the music industry to better define their own approach to similar situations. Kelly’s label, RCA, which has not responded to multiple requests for comment by NPR on the allegations against Kelly and the response from Time’s Up and other industry groups. RCA’s parent company, Sony, has declined to comment on Kelly as well, referring reporters back to RCA. Live Nation — the concert giant reportedly \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">under investigation\u003c/a> by the Department of Justice — has also declined multiple requests for comment on Kelly. Last year, when Fulton County, Georgia’s board of commissioners \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541452295/fulton-county-georgia-has-asked-live-nation-to-cancel-an-r-kelly-concert\">requested a concert\u003c/a> by Kelly at the Wolf Creek Amphitheater — a venue owned by Fulton County and administered by Live Nation — be canceled, Live Nation’s chief communications officer Carrie Davis declined to comment except to say the concert would go on as scheduled.\u003c/p>\n\u003cp>While R. Kelly is the first artist directly addressed by Spotify, others have been affected by internal content policies at the company, too. Last summer, in response to the violence in Charlottesville, bands espousing white supremacy were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/17/544240096/spotify-removes-racist-music-in-response-to-charlottesville\">removed entirely\u003c/a> from the service’s catalog.\u003c/p>\n\u003cp>The track record of tech companies policing the content on their platforms, whether through crowdsourcing or internal monitoring, is spotty. Recall \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2016/09/10/493454256/with-napalm-girl-facebook-humans-not-algorithms-struggle-to-be-editor\">Facebook’s removal\u003c/a> of the Associated Press’ historic 1972 photo of a nine-year-old girl fleeing in terror during the Vietnam War. The controversial cartoonist Joan Cornella, whose work often depicts sunny scenes of violence in surrealistic social satire, has had his work \u003ca href=\"https://twitter.com/sirjoancornella/status/811220677990748160\">removed\u003c/a> by Facebook on its subsidiary — and standalone social media giant — Instagram. Policing not only the content but the \u003cem>conduct\u003c/em> of artists will likely present further complications to their enforcement.\u003c/p>\n\u003cp>“There will always be content that is acceptable in some circumstances, but is offensive in others, and we will always look at the entire context,” Spotify writes in \u003ca href=\"https://newsroom.spotify.com/2018-05-10/spotify-announces-new-hate-content-and-hateful-conduct-public-policy/\">a blog post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At press time, the Spotify-branded playlist “This Is R. Kelly” \u003ca href=\"https://open.spotify.com/user/spotify/playlist/37i9dQZF1DZ06evO1lHeF2?si=oqb-2cN2SDeJY377iJZQ7A\">remained viewable and streamable\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Starting+With+R.+Kelly%2C+Spotify+Pulls+Artists+From+Playlists+For+%27Hateful+Conduct%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The streaming giant announced a new policy covering both the content on its platform as well as the conduct of artists it sees as having been \"harmful or hateful.\"",
"status": "publish",
"parent": 0,
"modified": 1782406634,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 1019
},
"headData": {
"title": "Starting With R. Kelly, Spotify Pulls Artists From Playlists For 'Hateful Conduct' | KQED",
"description": "The streaming giant announced a new policy covering both the content on its platform as well as the conduct of artists it sees as having been "harmful or hateful."",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Starting With R. Kelly, Spotify Pulls Artists From Playlists For 'Hateful Conduct'",
"datePublished": "2018-05-10T11:28:51-07:00",
"dateModified": "2026-06-25T09:57:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 69,
"slug": "music",
"name": "Music"
},
"sticky": false,
"nprImageCredit": "Erika Goldring",
"nprByline": "Andrew Flanagan",
"nprImageAgency": "WireImage",
"nprStoryId": "610051559",
"nprApiLink": "http://api.npr.org/query?id=610051559&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/sections/therecord/2018/05/10/610051559/starting-with-r-kelly-spotify-pulls-artists-from-playlists-for-hateful-conduct?ft=nprml&f=610051559",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 10 May 2018 12:57:00 -0400",
"nprStoryDate": "Thu, 10 May 2018 12:31:36 -0400",
"nprLastModifiedDate": "Thu, 10 May 2018 12:57:34 -0400",
"path": "/arts/13831890/starting-with-r-kelly-spotify-pulls-artists-from-playlists-for-hateful-conduct",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The music streaming giant Spotify, with 75 million subscribers and 170 million monthly users, announced a new policy this morning regarding music that it believes to contain “hate content.” Alongside the announcement, Spotify also confirmed that one of the first artists to be affected by the policy would be R. Kelly, the R&B singer who has been accused of extensive sexual misconduct dating back nearly two decades, but whose actions have been the subject of renewed focus in the last year. In April, Kelly \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">was condemned\u003c/a> by a group of women of color within the Time’s Up movement, who called for labels and streaming services — including Spotify — to cut ties with the singer.\u003c/p>\n\u003cp>“We are removing R. Kelly’s music from all Spotify owned and operated playlists and algorithmic recommendations such as Discover Weekly. His music will still be available on the service, but Spotify will not actively promote it,” a further statement from Spotify provided to NPR reads. “We don’t censor content because of an artist’s or creator’s behavior, but we want our editorial decisions — what we choose to program — to reflect our values. When an artist or creator does something that is especially harmful or hateful, it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify says it will take a three-tiered approach to policing hate on its platform. First, it is partnering with several advocacy groups — its announcement lists the Southern Poverty Law Center, The Anti-Defamation League, Color Of Change, Showing Up for Racial Justice, GLAAD, Muslim Advocates and the International Network Against Cyber Hate. (The groups will serve as “advisors,” according to a company spokesperson.) Second, it is introducing an algorithmic internal monitor called AudioWatch. And third, a hear-something-say-something approach, giving people the option of \u003ca href=\"https://support.spotify.com/us/contact-spotify-support/\">reporting content\u003c/a> as well.\u003c/p>\n\u003cp>“We believe in openness, diversity, tolerance and respect, and we want to promote those values through music and the creative arts,” \u003ca href=\"https://artists.spotify.com/faq/policies#hate-content-and-hateful-conduct\">its policy\u003c/a> begins. It goes on to define hate speech on the platform as any that promotes or incites violence towards people or groups because of “race, religion, gender identity, sex, ethnicity, nationality, sexual orientation, veteran status, or disability.” The company also states that when “an artist or creator does something that is especially harmful or hateful (for example, violence against children and sexual violence), it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify has also removed the rapper XXXTentacion — who is \u003ca href=\"https://pitchfork.com/thepitch/xxxtentacions-reported-victim-details-grim-pattern-of-abuse-in-testimony/\">facing charges\u003c/a> of domestic abuse in Florida — from its popular Rap Caviar playlist, which, \u003ca href=\"https://www.nytimes.com/2018/05/10/arts/music/rkelly-spotify-accusations-xxxtentacion.html\">according to a report\u003c/a> by \u003cem>The New York Times\u003c/em>, included a song by the rapper as recently as Wednesday.\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 punishment is a potentially impactful one on artists’ (and labels’, and managers’) bottom lines. The artist-anointing and sustaining powers of Spotify’s playlists and algorithmic recommendations are \u003ca href=\"https://www.wired.com/2017/05/secret-hit-making-power-spotify-playlist/\">well-known\u003c/a> — in a service with some 35 million songs, there’s little option for stumbling into things without them. High visibility on the platform can easily translate into success elsewhere.\u003c/p>\n\u003cp>“It is important that those who market the work of problematic entertainers stand, in the end, with their company’s collective values,” writes Kenyette Tisha Barnes, a co-founder of the #MuteRKelly campaign, in an email to NPR. “Although Spotify did state that the decision was not solely due to public pressure from #MuteRKelly, one can infer that the public outrage and support from #MeToo and #TimesUp, was in part, influential in the decision to select R. Kelly as the first artist to be removed under this new policy. We find this decision by Spotify a victory, and is just another step in our mission.”\u003c/p>\n\u003cp>With the announcement, Spotify has potentially increased the pressure on other companies in the music industry to better define their own approach to similar situations. Kelly’s label, RCA, which has not responded to multiple requests for comment by NPR on the allegations against Kelly and the response from Time’s Up and other industry groups. RCA’s parent company, Sony, has declined to comment on Kelly as well, referring reporters back to RCA. Live Nation — the concert giant reportedly \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">under investigation\u003c/a> by the Department of Justice — has also declined multiple requests for comment on Kelly. Last year, when Fulton County, Georgia’s board of commissioners \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541452295/fulton-county-georgia-has-asked-live-nation-to-cancel-an-r-kelly-concert\">requested a concert\u003c/a> by Kelly at the Wolf Creek Amphitheater — a venue owned by Fulton County and administered by Live Nation — be canceled, Live Nation’s chief communications officer Carrie Davis declined to comment except to say the concert would go on as scheduled.\u003c/p>\n\u003cp>While R. Kelly is the first artist directly addressed by Spotify, others have been affected by internal content policies at the company, too. Last summer, in response to the violence in Charlottesville, bands espousing white supremacy were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/17/544240096/spotify-removes-racist-music-in-response-to-charlottesville\">removed entirely\u003c/a> from the service’s catalog.\u003c/p>\n\u003cp>The track record of tech companies policing the content on their platforms, whether through crowdsourcing or internal monitoring, is spotty. Recall \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2016/09/10/493454256/with-napalm-girl-facebook-humans-not-algorithms-struggle-to-be-editor\">Facebook’s removal\u003c/a> of the Associated Press’ historic 1972 photo of a nine-year-old girl fleeing in terror during the Vietnam War. The controversial cartoonist Joan Cornella, whose work often depicts sunny scenes of violence in surrealistic social satire, has had his work \u003ca href=\"https://twitter.com/sirjoancornella/status/811220677990748160\">removed\u003c/a> by Facebook on its subsidiary — and standalone social media giant — Instagram. Policing not only the content but the \u003cem>conduct\u003c/em> of artists will likely present further complications to their enforcement.\u003c/p>\n\u003cp>“There will always be content that is acceptable in some circumstances, but is offensive in others, and we will always look at the entire context,” Spotify writes in \u003ca href=\"https://newsroom.spotify.com/2018-05-10/spotify-announces-new-hate-content-and-hateful-conduct-public-policy/\">a blog post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At press time, the Spotify-branded playlist “This Is R. Kelly” \u003ca href=\"https://open.spotify.com/user/spotify/playlist/37i9dQZF1DZ06evO1lHeF2?si=oqb-2cN2SDeJY377iJZQ7A\">remained viewable and streamable\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Starting+With+R.+Kelly%2C+Spotify+Pulls+Artists+From+Playlists+For+%27Hateful+Conduct%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13831890/starting-with-r-kelly-spotify-pulls-artists-from-playlists-for-hateful-conduct",
"authors": [
"byline_arts_13831890"
],
"categories": [
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_10589",
"arts_2798",
"arts_820",
"arts_746",
"arts_596",
"arts_2461",
"arts_4136"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13831891",
"label": "arts_137"
},
"arts_13828563": {
"type": "posts",
"id": "arts_13828563",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13828563",
"score": null,
"sort": [
1522793561000
]
},
"guestAuthors": [],
"slug": "spotify-goes-public-valued-at-nearly-30-billion-but-its-future-isnt-guaranteed",
"title": "Spotify Goes Public Valued At Nearly $30 Billion – But Its Future Isn't Guaranteed",
"publishDate": 1522793561,
"format": "standard",
"headTitle": "Spotify Goes Public Valued At Nearly $30 Billion – But Its Future Isn’t Guaranteed | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The world’s most popular music streaming service, Spotify, went public Tuesday. Shares were expected to start trading around $130 each, but ranges for the opening price went as high as $169, and at the time of this writing its stocks were trading at $155, making the company worth about $27.4 billion. (You could safely expect these figures to fluctuate widely over the coming hours, days, weeks and months.)\u003c/p>\n\u003cp>Spotify brings in almost $5 billion a year, but it pays out 79 percent of that to record labels, producers, songwriters and artists. David Pakman, a venture capitalist who has run several digital music companies including eMusic and Apple’s Music Group, says there’s just not enough left over to make a profit.\u003c/p>\n\u003cp>“It’s a business that’s never made money — and I think it’s unlikely to ever make money, which is a shame because it’s an incredible service,” Pakman tells NPR. He says the problem is that much of recorded music is controlled by just a handful of companies. “They are at the mercy of the record labels, who are really in control of Spotify’s long-term economic success.”\u003c/p>\n\u003cp>Last summer, Spotify renegotiated with the record labels in an effort to reduce what it pays in royalties. The labels agreed, provided they could keep certain albums behind paywalls and as long as Spotify met certain benchmarks.\u003c/p>\n\u003cp>The main point of contention with the recording industry, though, is how few Spotify users actually pay for the service. Nearly two-thirds of listeners use the free version, which is supported by ad revenue, but advertising only contributes 10 percent of Spotify’s revenue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Richard Burgess, head of the American Association of Independent Music, says “when you look at the revenue from the ad-supported section of the service, it pales into insignificance compared to the subscription payments.”\u003c/p>\n\u003cp>In a public dispute, singer Taylor Swift pulled her music from Spotify because “music should not be free,” \u003ca href=\"https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219\">she wrote\u003c/a>. Spotify CEO Daniel Ek \u003ca href=\"https://www.cbsnews.com/news/spotify-ceo-daniel-ek-taylor-swift-ending-feud/\">told CBS\u003c/a> that he went on a campaign to convince her to rejoin Spotify, which she eventually did.\u003c/p>\n\u003cp>This is the chicken-and-the-egg problem. Spotify can’t grow unless it offers a free version, but that doesn’t generate enough cash for the labels or Spotify. The record labels, on the other hand, don’t like to give away music, but very much need a music streaming service like Spotify to succeed.\u003c/p>\n\u003cp>Skeptics, like Pakman, call this “an unhealthy co-dependency.” But Burgess and others in the industry are optimistic Spotify can be profitable eventually.\u003c/p>\n\u003cp>“We need to find that sweet spot, between a price that still works for the labels but that doesn’t crush the streaming services and does encourage them to grow,” Burgess says.\u003c/p>\n\u003cp>For competing services like Apple Music or Amazon Music (36 million paid subscribers) or Amazon Music (\u003ca href=\"https://www.billboard.com/articles/business/8280570/amazon-music-subscriptions-doubled-past-six-months\">“tens of millions”\u003c/a> paid subscribers), not making profit on music is okay, because they have plenty of other profitable products. Spotify doesn’t. The company has tried to branch out into video and podcasts, but the real profit might lie somewhere else — like replacing the record labels.\u003c/p>\n\u003cp>“Record labels used to decide what we listened to. They would decide what songs ended up on the radio and the TV and got released when,” Mark Mulligan, an industry analysts for the investment research firm MIDiA, says. “All of that is changing. Spotify is dismembering the albums, if you like. Taking the best bits, cherry-picking the killer tracks, putting them onto playlists, deciding what goes where, using data to help inform those decisions. And that use of soft power is really terrifying for the record labels.”\u003c/p>\n\u003cp>Spotify has invested heavily in artificial intelligence. The company says almost a third of all listening is chosen not by users but by Spotify and its algorithms. It’s a significant change that undermines the role record labels have traditionally played. However, Mulligan says the new business model opens the doors for new investments into the industry. Those doors have been shut for the last twenty years since people first started pirating music on the internet.\u003c/p>\n\u003cp>“Now is the time when we find out whether the rest of the marketplace feels as confident of the music business as the music business does itself,” Mulligan says.\u003c/p>\n\u003cp>It will likely take at least a few months for Spotify’s stock price to stabilize. Once it does, the major record companies will have to decide how to position themselves — and what to do with the roughly 16 percent stake they took in Spotify in exchange for more favorable licensing terms. The companies have said they will share the windfall with the artists, but there’s nothing in the standard contracts that says how much, if at all. \u003ca href=\"https://www.billboard.com/articles/business/8282584/spotify-shares-nyse-record-labels-sell-stock?curator=MusicREDEF\">\u003cem>Billboard\u003c/em>\u003c/a> reports that the industry is wrestling with those questions now.\u003c/p>\n\u003cp>Songwriters and publishers are also wondering, what about them? They have sued Spotify over miscalculations in their royalty payments. Spotify has settled one suit, but more are pending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All of this over a company that hasn’t yet made a profit. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spotify+Goes+Public+Valued+At+Nearly+%2430+Billion+%E2%80%93+But+Its+Future+Isn%27t+Guaranteed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Spotify's much-anticipated debut on the New York Stock Exchange arrived today — but the company has never made a profit. To do so, it needs to predict, and define, the future.",
"status": "publish",
"parent": 0,
"modified": 1726701059,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 905
},
"headData": {
"title": "Spotify Goes Public Valued At Nearly $30 Billion – But Its Future Isn't Guaranteed | KQED",
"description": "Spotify's much-anticipated debut on the New York Stock Exchange arrived today — but the company has never made a profit. To do so, it needs to predict, and define, the future.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Spotify Goes Public Valued At Nearly $30 Billion – But Its Future Isn't Guaranteed",
"datePublished": "2018-04-03T15:12:41-07:00",
"dateModified": "2024-09-18T16:10:59-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Ilya S. Savenok",
"nprByline": "Charles Lane",
"nprImageAgency": "Getty Images for Spotify",
"nprStoryId": "599131554",
"nprApiLink": "http://api.npr.org/query?id=599131554&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/sections/therecord/2018/04/03/599131554/spotify-goes-public-valued-at-nearly-30-billion-but-its-future-isnt-guaranteed?ft=nprml&f=599131554",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 03 Apr 2018 17:59:00 -0400",
"nprStoryDate": "Tue, 03 Apr 2018 14:43:00 -0400",
"nprLastModifiedDate": "Tue, 03 Apr 2018 17:09:02 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/04/20180403_atc_spotify_goes_public_valued_at_nearly_30_billion_but_its_future_isnt_guaranteed.mp3?orgId=1&topicId=1039&aggIds=100920965&d=250&p=2&story=599131554&ft=nprml&f=599131554",
"nprAudioM3u": "http://api.npr.org/m3u/1599240804-1c04d1.m3u?orgId=1&topicId=1039&aggIds=100920965&d=250&p=2&story=599131554&ft=nprml&f=599131554",
"path": "/arts/13828563/spotify-goes-public-valued-at-nearly-30-billion-but-its-future-isnt-guaranteed",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/04/20180403_atc_spotify_goes_public_valued_at_nearly_30_billion_but_its_future_isnt_guaranteed.mp3?orgId=1&topicId=1039&aggIds=100920965&d=250&p=2&story=599131554&ft=nprml&f=599131554",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The world’s most popular music streaming service, Spotify, went public Tuesday. Shares were expected to start trading around $130 each, but ranges for the opening price went as high as $169, and at the time of this writing its stocks were trading at $155, making the company worth about $27.4 billion. (You could safely expect these figures to fluctuate widely over the coming hours, days, weeks and months.)\u003c/p>\n\u003cp>Spotify brings in almost $5 billion a year, but it pays out 79 percent of that to record labels, producers, songwriters and artists. David Pakman, a venture capitalist who has run several digital music companies including eMusic and Apple’s Music Group, says there’s just not enough left over to make a profit.\u003c/p>\n\u003cp>“It’s a business that’s never made money — and I think it’s unlikely to ever make money, which is a shame because it’s an incredible service,” Pakman tells NPR. He says the problem is that much of recorded music is controlled by just a handful of companies. “They are at the mercy of the record labels, who are really in control of Spotify’s long-term economic success.”\u003c/p>\n\u003cp>Last summer, Spotify renegotiated with the record labels in an effort to reduce what it pays in royalties. The labels agreed, provided they could keep certain albums behind paywalls and as long as Spotify met certain benchmarks.\u003c/p>\n\u003cp>The main point of contention with the recording industry, though, is how few Spotify users actually pay for the service. Nearly two-thirds of listeners use the free version, which is supported by ad revenue, but advertising only contributes 10 percent of Spotify’s revenue.\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>Richard Burgess, head of the American Association of Independent Music, says “when you look at the revenue from the ad-supported section of the service, it pales into insignificance compared to the subscription payments.”\u003c/p>\n\u003cp>In a public dispute, singer Taylor Swift pulled her music from Spotify because “music should not be free,” \u003ca href=\"https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219\">she wrote\u003c/a>. Spotify CEO Daniel Ek \u003ca href=\"https://www.cbsnews.com/news/spotify-ceo-daniel-ek-taylor-swift-ending-feud/\">told CBS\u003c/a> that he went on a campaign to convince her to rejoin Spotify, which she eventually did.\u003c/p>\n\u003cp>This is the chicken-and-the-egg problem. Spotify can’t grow unless it offers a free version, but that doesn’t generate enough cash for the labels or Spotify. The record labels, on the other hand, don’t like to give away music, but very much need a music streaming service like Spotify to succeed.\u003c/p>\n\u003cp>Skeptics, like Pakman, call this “an unhealthy co-dependency.” But Burgess and others in the industry are optimistic Spotify can be profitable eventually.\u003c/p>\n\u003cp>“We need to find that sweet spot, between a price that still works for the labels but that doesn’t crush the streaming services and does encourage them to grow,” Burgess says.\u003c/p>\n\u003cp>For competing services like Apple Music or Amazon Music (36 million paid subscribers) or Amazon Music (\u003ca href=\"https://www.billboard.com/articles/business/8280570/amazon-music-subscriptions-doubled-past-six-months\">“tens of millions”\u003c/a> paid subscribers), not making profit on music is okay, because they have plenty of other profitable products. Spotify doesn’t. The company has tried to branch out into video and podcasts, but the real profit might lie somewhere else — like replacing the record labels.\u003c/p>\n\u003cp>“Record labels used to decide what we listened to. They would decide what songs ended up on the radio and the TV and got released when,” Mark Mulligan, an industry analysts for the investment research firm MIDiA, says. “All of that is changing. Spotify is dismembering the albums, if you like. Taking the best bits, cherry-picking the killer tracks, putting them onto playlists, deciding what goes where, using data to help inform those decisions. And that use of soft power is really terrifying for the record labels.”\u003c/p>\n\u003cp>Spotify has invested heavily in artificial intelligence. The company says almost a third of all listening is chosen not by users but by Spotify and its algorithms. It’s a significant change that undermines the role record labels have traditionally played. However, Mulligan says the new business model opens the doors for new investments into the industry. Those doors have been shut for the last twenty years since people first started pirating music on the internet.\u003c/p>\n\u003cp>“Now is the time when we find out whether the rest of the marketplace feels as confident of the music business as the music business does itself,” Mulligan says.\u003c/p>\n\u003cp>It will likely take at least a few months for Spotify’s stock price to stabilize. Once it does, the major record companies will have to decide how to position themselves — and what to do with the roughly 16 percent stake they took in Spotify in exchange for more favorable licensing terms. The companies have said they will share the windfall with the artists, but there’s nothing in the standard contracts that says how much, if at all. \u003ca href=\"https://www.billboard.com/articles/business/8282584/spotify-shares-nyse-record-labels-sell-stock?curator=MusicREDEF\">\u003cem>Billboard\u003c/em>\u003c/a> reports that the industry is wrestling with those questions now.\u003c/p>\n\u003cp>Songwriters and publishers are also wondering, what about them? They have sued Spotify over miscalculations in their royalty payments. Spotify has settled one suit, but more are pending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All of this over a company that hasn’t yet made a profit. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spotify+Goes+Public+Valued+At+Nearly+%2430+Billion+%E2%80%93+But+Its+Future+Isn%27t+Guaranteed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13828563/spotify-goes-public-valued-at-nearly-30-billion-but-its-future-isnt-guaranteed",
"authors": [
"byline_arts_13828563"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_4136"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13828564",
"label": "arts_137"
},
"arts_13825993": {
"type": "posts",
"id": "arts_13825993",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13825993",
"score": null,
"sort": [
1519931832000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1519931832,
"format": "standard",
"title": "Spotify Files Papers for Its Entry to the Stock Market",
"headTitle": "Spotify Files Papers for Its Entry to the Stock Market | KQED",
"content": "\u003cp>See SPOT list.\u003c/p>\n\u003cp>Spotify, the world’s most-used on-demand music streaming service, has pulled the curtain back on its New York Stock Exchange debut, expected in late March or early April, when it will trade under the symbol SPOT, according to \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1639920/000119312518063434/d494294df1.htm\">its filing\u003c/a> with the Securities and Exchange Commission on Wednesday.\u003c/p>\n\u003cp>As NPR \u003ca href=\"https://www.npr.org/2018/01/25/580263402/spotifys-unusual-ipo-model-will-test-the-companys-strength\">has reported\u003c/a>, Spotify is not entering the market through an initial public offering, but will simply list its shares on the NYSE, saving the company an estimated $300 million in the fees usually associated with going public. \u003c/p>\n\u003cp>Spotify was launched in Stockholm in 2006, by Daniel Ek, now its CEO, and Martin Lorentzon, its director. It wasn’t the first “on-demand” streaming service — that distinction is Rhapsody’s, launched in 2001 — but it was the first to gain significant traction with consumers. According to its filing, Spotify is now used in 61 countries by 159 million people a month, 71 million of whom pay for the service.\u003c/p>\n\u003cp>Despite the fact that most of its users don’t pay, the 71 million who \u003cem>do\u003c/em> generate 90 percent of the company’s revenue, according to the filing. But, like many tech companies that focus on acquiring users over generating money, it has yet to turn a profit — last year alone, the company made $4.98 billion, but lost $1.5 billion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite its own questionable fiscal health, the company is given a lot of credit for turning around the fortunes of the recorded music industry. Most of the money Spotify makes goes right back into the source of the music it distributes to its customers. Of the nearly $5 billion is made last year, $3.95 billion went to pay for the music it streamed.\u003c/p>\n\u003cp>That money has been a lifeline for the recorded music business, which went through a long period of contraction, from 1999 through 2014, losing 40 percent of its revenues. In 2016, streaming \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/25/525571787/global-record-business-saw-sizable-growth-last-year-thanks-to-streaming\">added $1 billion\u003c/a> in revenues to the global recorded music industry.\u003c/p>\n\u003cp>The same labels it’s helping to save also hold Spotify’s fate in their hands, however. According to its filing, four companies — Universal Music Group, Sony Music, Warner Music Group and Merlin, which represents tens of thousands of independent record labels — control 87 percent of the music people listened to on the platform last year. \u003c/p>\n\u003cp>That concentration of power — what Spotify calls its “lack of control over the providers of our content and their effect on our access to music” — coupled with the extremely complex system around licensing and legally playing music, mean it’s not completely in control of its own fate. Compare this to a company like Netflix, which now drives its viewers toward films and shows it has created.\u003c/p>\n\u003cp>Just before the turn of the new year, Spotify was sued — not for the first time — \u003ca href=\"https://www.npr.org/sections/therecord/2018/01/03/575368674/sweeping-new-music-law-expedites-a-1-6-billion-lawsuit-against-spotify\" target=\"_blank\" rel=\"noopener\">for $1.6 billion\u003c/a> over a failure to pay artists, over what it says is a complex system.\u003c/p>\n\u003cp>Wednesday’s filing also makes mention of some controversies in Spotify’s past. Recently, a scam based on a clever manipulation of robot-driven streams of fake music was alleged \u003ca href=\"https://www.musicbusinessworldwide.com/great-big-spotify-scam-bulgarian-playlister-swindle-way-fortune-streaming-service/\" target=\"_blank\" rel=\"noopener\">by Music Business Worldwide\u003c/a>. The filing, among the many risks it lists, says: “… an individual might generate fake users to stream songs repeatedly, thereby generating revenue each time the song is streamed. … In 2017, we detected instances of botnet operators creating fake new User accounts seemingly for the above purposes.”\u003c/p>\n\u003cp>Similarly, last year the company was accused of hiring producers — at the time, what were \u003ca href=\"https://www.npr.org/sections/therecord/2017/07/12/536670493/spotify-is-accused-of-creating-fake-artists-but-what-is-a-fake-artist\" target=\"_blank\" rel=\"noopener\">called “fake artists”\u003c/a> — to create music for its \u003cem>own\u003c/em> (very popular) playlists in order to fulfill what it perceived as a demand from its customers. The filing mentions it may in the future “expend substantial financial resources on [among other things] … creating new forms of original content.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question, as ever, remains: What will the future hold? \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spotify+Files+Papers+For+Its+Entry+To+The+Stock+Market&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 688,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705028372,
"excerpt": "The world's most popular music streaming service has announced its long-anticipated plan to debut on the New York Stock Exchange. Spotify's fate, however, isn't entirely in its own hands.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The world's most popular music streaming service has announced its long-anticipated plan to debut on the New York Stock Exchange. Spotify's fate, however, isn't entirely in its own hands.",
"title": "Spotify Files Papers for Its Entry to the Stock Market | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Spotify Files Papers for Its Entry to the Stock Market",
"datePublished": "2018-03-01T11:17:12-08:00",
"dateModified": "2024-01-11T18:59:32-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "spotify-files-papers-for-its-entry-to-the-stock-market",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=589627338&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Flanagan",
"nprStoryDate": "Wed, 28 Feb 2018 18:10:48 -0500",
"nprLastModifiedDate": "Wed, 28 Feb 2018 18:50:51 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/sections/thetwo-way/2018/02/28/589627338/spotify-files-papers-for-a-1-billion-entry-to-the-stock-market?ft=nprml&f=589627338",
"nprImageAgency": "AFP/Getty Images",
"nprImageCredit": "Toru Yamanaka",
"nprStoryId": "589627338",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 28 Feb 2018 18:50:00 -0500",
"path": "/arts/13825993/spotify-files-papers-for-its-entry-to-the-stock-market",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>See SPOT list.\u003c/p>\n\u003cp>Spotify, the world’s most-used on-demand music streaming service, has pulled the curtain back on its New York Stock Exchange debut, expected in late March or early April, when it will trade under the symbol SPOT, according to \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1639920/000119312518063434/d494294df1.htm\">its filing\u003c/a> with the Securities and Exchange Commission on Wednesday.\u003c/p>\n\u003cp>As NPR \u003ca href=\"https://www.npr.org/2018/01/25/580263402/spotifys-unusual-ipo-model-will-test-the-companys-strength\">has reported\u003c/a>, Spotify is not entering the market through an initial public offering, but will simply list its shares on the NYSE, saving the company an estimated $300 million in the fees usually associated with going public. \u003c/p>\n\u003cp>Spotify was launched in Stockholm in 2006, by Daniel Ek, now its CEO, and Martin Lorentzon, its director. It wasn’t the first “on-demand” streaming service — that distinction is Rhapsody’s, launched in 2001 — but it was the first to gain significant traction with consumers. According to its filing, Spotify is now used in 61 countries by 159 million people a month, 71 million of whom pay for the service.\u003c/p>\n\u003cp>Despite the fact that most of its users don’t pay, the 71 million who \u003cem>do\u003c/em> generate 90 percent of the company’s revenue, according to the filing. But, like many tech companies that focus on acquiring users over generating money, it has yet to turn a profit — last year alone, the company made $4.98 billion, but lost $1.5 billion.\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>Despite its own questionable fiscal health, the company is given a lot of credit for turning around the fortunes of the recorded music industry. Most of the money Spotify makes goes right back into the source of the music it distributes to its customers. Of the nearly $5 billion is made last year, $3.95 billion went to pay for the music it streamed.\u003c/p>\n\u003cp>That money has been a lifeline for the recorded music business, which went through a long period of contraction, from 1999 through 2014, losing 40 percent of its revenues. In 2016, streaming \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/25/525571787/global-record-business-saw-sizable-growth-last-year-thanks-to-streaming\">added $1 billion\u003c/a> in revenues to the global recorded music industry.\u003c/p>\n\u003cp>The same labels it’s helping to save also hold Spotify’s fate in their hands, however. According to its filing, four companies — Universal Music Group, Sony Music, Warner Music Group and Merlin, which represents tens of thousands of independent record labels — control 87 percent of the music people listened to on the platform last year. \u003c/p>\n\u003cp>That concentration of power — what Spotify calls its “lack of control over the providers of our content and their effect on our access to music” — coupled with the extremely complex system around licensing and legally playing music, mean it’s not completely in control of its own fate. Compare this to a company like Netflix, which now drives its viewers toward films and shows it has created.\u003c/p>\n\u003cp>Just before the turn of the new year, Spotify was sued — not for the first time — \u003ca href=\"https://www.npr.org/sections/therecord/2018/01/03/575368674/sweeping-new-music-law-expedites-a-1-6-billion-lawsuit-against-spotify\" target=\"_blank\" rel=\"noopener\">for $1.6 billion\u003c/a> over a failure to pay artists, over what it says is a complex system.\u003c/p>\n\u003cp>Wednesday’s filing also makes mention of some controversies in Spotify’s past. Recently, a scam based on a clever manipulation of robot-driven streams of fake music was alleged \u003ca href=\"https://www.musicbusinessworldwide.com/great-big-spotify-scam-bulgarian-playlister-swindle-way-fortune-streaming-service/\" target=\"_blank\" rel=\"noopener\">by Music Business Worldwide\u003c/a>. The filing, among the many risks it lists, says: “… an individual might generate fake users to stream songs repeatedly, thereby generating revenue each time the song is streamed. … In 2017, we detected instances of botnet operators creating fake new User accounts seemingly for the above purposes.”\u003c/p>\n\u003cp>Similarly, last year the company was accused of hiring producers — at the time, what were \u003ca href=\"https://www.npr.org/sections/therecord/2017/07/12/536670493/spotify-is-accused-of-creating-fake-artists-but-what-is-a-fake-artist\" target=\"_blank\" rel=\"noopener\">called “fake artists”\u003c/a> — to create music for its \u003cem>own\u003c/em> (very popular) playlists in order to fulfill what it perceived as a demand from its customers. The filing mentions it may in the future “expend substantial financial resources on [among other things] … creating new forms of original content.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question, as ever, remains: What will the future hold? \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spotify+Files+Papers+For+Its+Entry+To+The+Stock+Market&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13825993/spotify-files-papers-for-its-entry-to-the-stock-market",
"authors": [
"byline_arts_13825993"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_596",
"arts_4136"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13825994",
"label": "arts_137"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=spotify": {
"isFetching": false,
"latestQuery": {
"from": 12,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 6,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 18,
"relation": "eq"
},
"items": [
"arts_13864931",
"arts_13862138",
"arts_13858891",
"arts_13831890",
"arts_13828563",
"arts_13825993"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_tag_spotify": {
"isLoading": true
},
"arts_4136": {
"type": "terms",
"id": "arts_4136",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4136",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Spotify",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Spotify Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4148,
"slug": "spotify",
"isLoading": false,
"link": "/arts/tag/spotify"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_6226": {
"type": "terms",
"id": "arts_6226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6226",
"found": true
},
"relationships": {},
"featImg": null,
"name": "cardi b",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "cardi b Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6238,
"slug": "cardi-b",
"isLoading": false,
"link": "/arts/tag/cardi-b"
},
"arts_2519": {
"type": "terms",
"id": "arts_2519",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2519",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Latin music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Latin music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2531,
"slug": "latin-music",
"isLoading": false,
"link": "/arts/tag/latin-music"
},
"arts_1256": {
"type": "terms",
"id": "arts_1256",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1256",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Latino",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Latino Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1268,
"slug": "latino",
"isLoading": false,
"link": "/arts/tag/latino"
},
"arts_5747": {
"type": "terms",
"id": "arts_5747",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5747",
"found": true
},
"relationships": {},
"featImg": null,
"name": "latinx",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "latinx Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5759,
"slug": "latinx",
"isLoading": false,
"link": "/arts/tag/latinx"
},
"arts_8416": {
"type": "terms",
"id": "arts_8416",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8416",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mtv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mtv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8428,
"slug": "mtv",
"isLoading": false,
"link": "/arts/tag/mtv"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_4244": {
"type": "terms",
"id": "arts_4244",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4244",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Puerto Rico",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Puerto Rico Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4256,
"slug": "puerto-rico",
"isLoading": false,
"link": "/arts/tag/puerto-rico"
},
"arts_974": {
"type": "terms",
"id": "arts_974",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "974",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rap",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rap Archives | KQED Arts",
"ogDescription": null
},
"ttid": 992,
"slug": "rap",
"isLoading": false,
"link": "/arts/tag/rap"
},
"arts_4554": {
"type": "terms",
"id": "arts_4554",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4554",
"found": true
},
"relationships": {},
"featImg": null,
"name": "youtube",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "youtube Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4566,
"slug": "youtube",
"isLoading": false,
"link": "/arts/tag/youtube"
},
"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_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_10589": {
"type": "terms",
"id": "arts_10589",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10589",
"found": true
},
"relationships": {},
"featImg": null,
"name": "&Music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "&Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10601,
"slug": "music",
"isLoading": false,
"link": "/arts/tag/music"
},
"arts_6427": {
"type": "terms",
"id": "arts_6427",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6427",
"found": true
},
"relationships": {},
"featImg": null,
"name": "streaming",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "streaming Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6439,
"slug": "streaming",
"isLoading": false,
"link": "/arts/tag/streaming"
},
"arts_1935": {
"type": "terms",
"id": "arts_1935",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1935",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tech",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tech Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1947,
"slug": "tech",
"isLoading": false,
"link": "/arts/tag/tech"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_3397": {
"type": "terms",
"id": "arts_3397",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3397",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Apple",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Apple Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3409,
"slug": "apple",
"isLoading": false,
"link": "/arts/tag/apple"
},
"arts_6425": {
"type": "terms",
"id": "arts_6425",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6425",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bandcamp",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bandcamp Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6437,
"slug": "bandcamp",
"isLoading": false,
"link": "/arts/tag/bandcamp"
},
"arts_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"arts_2798": {
"type": "terms",
"id": "arts_2798",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2798",
"found": true
},
"relationships": {},
"name": "#MeToo",
"slug": "metoo",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "#MeToo | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 2810,
"isLoading": false,
"link": "/arts/tag/metoo"
},
"arts_820": {
"type": "terms",
"id": "arts_820",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "820",
"found": true
},
"relationships": {},
"featImg": null,
"name": "art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 838,
"slug": "art",
"isLoading": false,
"link": "/arts/tag/art"
},
"arts_2461": {
"type": "terms",
"id": "arts_2461",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2461",
"found": true
},
"relationships": {},
"featImg": null,
"name": "R. Kelly",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "R. Kelly Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2473,
"slug": "r-kelly",
"isLoading": false,
"link": "/arts/tag/r-kelly"
},
"arts_1448": {
"type": "terms",
"id": "arts_1448",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1448",
"found": true
},
"relationships": {},
"featImg": null,
"name": "art wire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "art wire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1460,
"slug": "art-wire",
"isLoading": false,
"link": "/arts/tag/art-wire"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
