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_13921780": {
"type": "attachments",
"id": "arts_13921780",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921780",
"found": true
},
"parent": 13921777,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-160x93.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 93
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85.jpg",
"width": 1198,
"height": 697
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-1020x593.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 593
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-800x465.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 465
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-768x447.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 447
}
},
"publishDate": 1668729104,
"modified": 1668729143,
"caption": "Taylor Swift, pictured at the 2022 MTV VMAs in August, will embark on her first tour in five years this coming March. Over two million people bought tickets to The Eras Tour on the first day of pre-sale, despite major technical issues.",
"description": null,
"title": "gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85",
"credit": "Jamie McCarthy/Getty Images for MTV/Paramount Global",
"status": "inherit",
"altTag": "a white woman in a rhinestone dress with red lipstick on a red carpet",
"isLoading": false,
"fetchFailed": false
},
"arts_13912583": {
"type": "attachments",
"id": "arts_13912583",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13912583",
"found": true
},
"parent": 13912555,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/barbie-ferreira-alexa-demie_0-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/barbie-ferreira-alexa-demie_0-160x99.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 99
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/barbie-ferreira-alexa-demie_0-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/barbie-ferreira-alexa-demie_0.jpg",
"width": 1920,
"height": 1183
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/barbie-ferreira-alexa-demie_0-1020x628.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 628
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/barbie-ferreira-alexa-demie_0-1536x946.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 946
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/barbie-ferreira-alexa-demie_0-800x493.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 493
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/barbie-ferreira-alexa-demie_0-768x473.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 473
}
},
"publishDate": 1651098344,
"modified": 1651098463,
"caption": "The critically acclaimed HBO series 'Euphoria' is among the many TV shows that has not acknowledged the pandemic. ",
"description": null,
"title": "barbie-ferreira-alexa-demie_0",
"credit": "Eddy Chen/HBO",
"status": "inherit",
"altTag": "A group of teens clap and cheer in an auditorium",
"isLoading": false,
"fetchFailed": false
},
"arts_13906523": {
"type": "attachments",
"id": "arts_13906523",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13906523",
"found": true
},
"parent": 13906513,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1343022371-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1343022371-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1343022371-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1343022371-scaled.jpg",
"width": 2560,
"height": 1706
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1343022371-2048x1365.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1365
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1343022371-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1343022371-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1343022371-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1343022371-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1343022371-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1637785048,
"modified": 1637785143,
"caption": "Jake Gyllenhaal steadfastly refusing to sing a song about his relationship with Taylor Swift.",
"description": null,
"title": "Jake Gyllenhaal steadfastly refusing to sing a song about his relationship with Taylor Swift.",
"credit": "Dimitrios Kambouris/Getty Images for Tony Awards Productions",
"status": "inherit",
"altTag": "Jake Gyllenhaal wears a pale pink shirt and suit jacket in front of a red and pink wall.",
"isLoading": false,
"fetchFailed": false
},
"arts_13899790": {
"type": "attachments",
"id": "arts_13899790",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13899790",
"found": true
},
"parent": 13899731,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/07/Screen-Shot-2021-07-01-at-2.47.44-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/07/Screen-Shot-2021-07-01-at-2.47.44-PM-160x85.png",
"width": 160,
"mimeType": "image/png",
"height": 85
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/07/Screen-Shot-2021-07-01-at-2.47.44-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/07/Screen-Shot-2021-07-01-at-2.47.44-PM.png",
"width": 2516,
"height": 1342
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/07/Screen-Shot-2021-07-01-at-2.47.44-PM-2048x1092.png",
"width": 2048,
"mimeType": "image/png",
"height": 1092
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/07/Screen-Shot-2021-07-01-at-2.47.44-PM-1020x544.png",
"width": 1020,
"mimeType": "image/png",
"height": 544
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/07/Screen-Shot-2021-07-01-at-2.47.44-PM-1536x819.png",
"width": 1536,
"mimeType": "image/png",
"height": 819
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/07/Screen-Shot-2021-07-01-at-2.47.44-PM-1920x1024.png",
"width": 1920,
"mimeType": "image/png",
"height": 1024
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/07/Screen-Shot-2021-07-01-at-2.47.44-PM-800x427.png",
"width": 800,
"mimeType": "image/png",
"height": 427
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/07/Screen-Shot-2021-07-01-at-2.47.44-PM-768x410.png",
"width": 768,
"mimeType": "image/png",
"height": 410
}
},
"publishDate": 1625176253,
"modified": 1625176317,
"caption": "When activists filmed Sergeant D. Shelby outside of an Oakland courthouse, he hit play on a Taylor Swift song to attempt to get their video removed from YouTube.",
"description": "When activists filmed Sergeant D. Shelby outside of an Oakland courthouse, he hit play on a Taylor Swift song to attempt to get their video removed from YouTube.",
"title": "Screen Shot 2021-07-01 at 2.47.44 PM",
"credit": "Anti Police-Terror Project",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13892666": {
"type": "attachments",
"id": "arts_13892666",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13892666",
"found": true
},
"parent": 13892656,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/GettyImages-1188142778-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/GettyImages-1188142778-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/GettyImages-1188142778-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/GettyImages-1188142778-scaled.jpg",
"width": 2560,
"height": 1707
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/GettyImages-1188142778-2048x1365.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1365
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/GettyImages-1188142778-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/GettyImages-1188142778-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/GettyImages-1188142778-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/GettyImages-1188142778-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/02/GettyImages-1188142778-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1613077119,
"modified": 1689901040,
"caption": "Taylor Swift pictured at Billboard's 2019 Woman of the Year in Los Angeles. ",
"description": "Taylor Swift pictured at Billboard's 2019 Woman of the Year in Los Angeles 2019. ",
"title": "Taylor Swift pictured at Billboard's 2019 Woman of the Year in Los Angeles 2019.",
"credit": "VALERIE MACON/AFP via Getty Images",
"status": "inherit",
"altTag": "Taylor Swift pictured at Billboard's 2019 Woman of the Year in Los Angeles 2019.",
"isLoading": false,
"fetchFailed": false
},
"arts_13884674": {
"type": "attachments",
"id": "arts_13884674",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13884674",
"found": true
},
"parent": 13884673,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/ap_20216501865653_custom-2e213da44f109bbed8b6cf93a7381afc3d5a9990-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/ap_20216501865653_custom-2e213da44f109bbed8b6cf93a7381afc3d5a9990-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/ap_20216501865653_custom-2e213da44f109bbed8b6cf93a7381afc3d5a9990-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/ap_20216501865653_custom-2e213da44f109bbed8b6cf93a7381afc3d5a9990-scaled-e1597100421598.jpg",
"width": 1920,
"height": 1279
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/ap_20216501865653_custom-2e213da44f109bbed8b6cf93a7381afc3d5a9990-2048x1364.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1364
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/ap_20216501865653_custom-2e213da44f109bbed8b6cf93a7381afc3d5a9990-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/ap_20216501865653_custom-2e213da44f109bbed8b6cf93a7381afc3d5a9990-1536x1023.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1023
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/ap_20216501865653_custom-2e213da44f109bbed8b6cf93a7381afc3d5a9990-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/ap_20216501865653_custom-2e213da44f109bbed8b6cf93a7381afc3d5a9990-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/ap_20216501865653_custom-2e213da44f109bbed8b6cf93a7381afc3d5a9990-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1597099023,
"modified": 1597100465,
"caption": "The woodsy cover image of Taylor Swift's new album 'Folklore' evokes #cottagecore.",
"description": "The woodsy cover image of Taylor Swift's new album 'Folklore' evokes #cottagecore. ",
"title": "The woodsy cover image of Taylor Swift's new album 'Folklore' evokes #cottagecore.",
"credit": "Republic Records via AP",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13883888": {
"type": "attachments",
"id": "arts_13883888",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13883888",
"found": true
},
"parent": 13883873,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/p7_000066060006_wide-5b4c8726991e9e5cff9354d750b30f06c66faea6-s800-c85-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/p7_000066060006_wide-5b4c8726991e9e5cff9354d750b30f06c66faea6-s800-c85-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/p7_000066060006_wide-5b4c8726991e9e5cff9354d750b30f06c66faea6-s800-c85.jpg",
"width": 800,
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/p7_000066060006_wide-5b4c8726991e9e5cff9354d750b30f06c66faea6-s800-c85-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1595621335,
"modified": 1595621354,
"caption": "Taylor Swift's new album, Folklore, is out now.",
"description": "Taylor Swift's new album, Folklore, is out now.",
"title": "p7_000066060006_wide-5b4c8726991e9e5cff9354d750b30f06c66faea6-s800-c85",
"credit": "Beth Garrabrant/Courtesy of the artist",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13883291": {
"type": "attachments",
"id": "arts_13883291",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13883291",
"found": true
},
"parent": 13883290,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/eclbsr4woaawehd_wide-bbcac503db5681127d93076772b508718a5ddd70-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/eclbsr4woaawehd_wide-bbcac503db5681127d93076772b508718a5ddd70-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/eclbsr4woaawehd_wide-bbcac503db5681127d93076772b508718a5ddd70-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/eclbsr4woaawehd_wide-bbcac503db5681127d93076772b508718a5ddd70.jpg",
"width": 1817,
"height": 1022
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/eclbsr4woaawehd_wide-bbcac503db5681127d93076772b508718a5ddd70-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/eclbsr4woaawehd_wide-bbcac503db5681127d93076772b508718a5ddd70-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/eclbsr4woaawehd_wide-bbcac503db5681127d93076772b508718a5ddd70-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/eclbsr4woaawehd_wide-bbcac503db5681127d93076772b508718a5ddd70-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1594754337,
"modified": 1594755041,
"caption": "Activity manager Robert Speker worked with residents at England's Sydmar Lodge care home to re-create iconic album covers. Due to COVID-19, residents have been locked down in the facility for months.",
"description": "Activity manager Robert Speker worked with residents at England's Sydmar Lodge care home to re-create iconic album covers. Due to COVID-19, residents have been locked down in the facility for months.",
"title": "Activity manager Robert Speker worked with residents at England's Sydmar Lodge care home to re-create iconic album covers. Due to COVID-19, residents have been locked down in the facility for months.",
"credit": "Twitter/ @robertspeker",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13874177": {
"type": "attachments",
"id": "arts_13874177",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13874177",
"found": true
},
"parent": 13874070,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Swift-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Swift-160x111.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 111
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Swift-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Swift.jpg",
"width": 1024,
"height": 712
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Swift-1020x709.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 709
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Swift-800x556.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 556
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Swift-768x534.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 534
}
},
"publishDate": 1580463160,
"modified": 1580463312,
"caption": "Taylor Swift attends the 2019 American Music Awards in Los Angeles. ",
"description": "Taylor Swift attends the 2019 American Music Awards in Los Angeles. ",
"title": "Taylor Swift attends the 2019 American Music Awards in Los Angeles.",
"credit": "Matt Winkelmeyer/Getty Images for dcp",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13873278": {
"type": "attachments",
"id": "arts_13873278",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13873278",
"found": true
},
"parent": 13873277,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-746080435_wide-91e34349e201b9f7e976fcd9199090e7a2e5a32a-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-746080435_wide-91e34349e201b9f7e976fcd9199090e7a2e5a32a-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-746080435_wide-91e34349e201b9f7e976fcd9199090e7a2e5a32a-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-746080435_wide-91e34349e201b9f7e976fcd9199090e7a2e5a32a-e1579033828721.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-746080435_wide-91e34349e201b9f7e976fcd9199090e7a2e5a32a-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-746080435_wide-91e34349e201b9f7e976fcd9199090e7a2e5a32a-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-746080435_wide-91e34349e201b9f7e976fcd9199090e7a2e5a32a-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-746080435_wide-91e34349e201b9f7e976fcd9199090e7a2e5a32a-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-746080435_wide-91e34349e201b9f7e976fcd9199090e7a2e5a32a-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1579032758,
"modified": 1579033817,
"caption": "Two competing data firms, BuzzAngle and Nielsen Music, released reports in early Jan. 2020 detailing the many changes in listening over the past decade.",
"description": "Two competing data firms, BuzzAngle and Nielsen Music, released reports in early Jan. 2020 detailing the many changes in listening over the past decade.",
"title": "Two competing data firms, BuzzAngle and Nielsen Music, released reports in early Jan. 2020 detailing the many changes in listening over the past decade.",
"credit": " Kirsty Lee / EyeEm/Getty Images/EyeEm",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13868272": {
"type": "attachments",
"id": "arts_13868272",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13868272",
"found": true
},
"title": "Taylor Swift performs during a Tiny Desk concert on Oct. 10, 2019. (Bob Boilen/NPR)",
"publishDate": 1571239021,
"status": "inherit",
"parent": 13868271,
"modified": 1725565014,
"caption": "Taylor Swift performs during a Tiny Desk concert on Oct. 10, 2019. ",
"credit": "Bob Boilen/NPR",
"altTag": null,
"description": "Taylor Swift performs during a Tiny Desk concert on Oct. 10, 2019. (Bob Boilen/NPR)",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1020x573.jpg",
"width": 1020,
"height": 573,
"mimeType": "image/jpeg"
},
"complete_open_graph": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1200x674.jpg",
"width": 1200,
"height": 674,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/taylorswift-bboilen02_wide-dbc4e595dab7bf7e15d7a9a788dd5548d61e4861.jpg",
"width": 1500,
"height": 843
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13864956": {
"type": "attachments",
"id": "arts_13864956",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13864956",
"found": true
},
"parent": 13864955,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/gettyimages-1164295611_wide-7727aae028bf92324d3b1450c429ad10fd679495-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1566919198,
"modified": 1566919198,
"caption": null,
"description": "Lizzo performs at the 2019 MTV Video Music Awards in Newark, N.J.",
"title": "Lizzo performs at the 2019 MTV Video Music Awards in Newark, New Jersey.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13921777": {
"type": "authors",
"id": "byline_arts_13921777",
"meta": {
"override": true
},
"slug": "byline_arts_13921777",
"name": "Rachel Treisman",
"isLoading": false
},
"byline_arts_13912555": {
"type": "authors",
"id": "byline_arts_13912555",
"meta": {
"override": true
},
"slug": "byline_arts_13912555",
"name": "Charles Lewis III",
"isLoading": false
},
"byline_arts_13892656": {
"type": "authors",
"id": "byline_arts_13892656",
"meta": {
"override": true
},
"slug": "byline_arts_13892656",
"name": "Stephen Thompson",
"isLoading": false
},
"byline_arts_13884673": {
"type": "authors",
"id": "byline_arts_13884673",
"meta": {
"override": true
},
"slug": "byline_arts_13884673",
"name": "Emma Bowman",
"isLoading": false
},
"byline_arts_13883873": {
"type": "authors",
"id": "byline_arts_13883873",
"meta": {
"override": true
},
"slug": "byline_arts_13883873",
"name": "Lyndsey McKenna",
"isLoading": false
},
"byline_arts_13883290": {
"type": "authors",
"id": "byline_arts_13883290",
"meta": {
"override": true
},
"slug": "byline_arts_13883290",
"name": "Laurel Wamsley",
"isLoading": false
},
"byline_arts_13873277": {
"type": "authors",
"id": "byline_arts_13873277",
"meta": {
"override": true
},
"slug": "byline_arts_13873277",
"name": "Cherie Hu",
"isLoading": false
},
"byline_arts_13868271": {
"type": "authors",
"id": "byline_arts_13868271",
"meta": {
"override": true
},
"slug": "byline_arts_13868271",
"name": "Lyndsey McKenna",
"isLoading": false
},
"byline_arts_13864955": {
"type": "authors",
"id": "byline_arts_13864955",
"meta": {
"override": true
},
"slug": "byline_arts_13864955",
"name": "Stephen Thompson",
"isLoading": false
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter and editor at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She holds a BA in comparative literature from UC Berkeley.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
}
},
"pagesReducer": {
"arts_tag_taylor-swift": {
"type": "terms",
"id": "arts_3026",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3026",
"score": 9.301779
},
"featImg": null,
"name": "Taylor Swift",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Taylor Swift Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3038,
"slug": "taylor-swift",
"isLoading": false,
"title": "Taylor Swift",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 3
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=taylor-swift",
"seeMore": false,
"paginated": true,
"page": 3
}
},
{
"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_13921777": {
"type": "posts",
"id": "arts_13921777",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921777",
"score": null,
"sort": [
1668729274000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 10778
},
"blocks": [],
"publishDate": 1668729274,
"format": "standard",
"title": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster's Dominance",
"headTitle": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster’s Dominance | KQED",
"content": "\u003cp>Ticket sales for Taylor Swift’s upcoming tour have not gone, in the words of the chart-topping singer, \u003ca href=\"https://www.npr.org/sections/now-playing/2021/11/12/1054886542/taylor-swift-all-too-well-10-minute-version-taylors-version-from-the-vault\">all too well\u003c/a>.\u003c/p>\n\u003cp>Mixed messages, long wait times and temporary \u003ca href=\"https://www.nbcnews.com/business/ticket-sales-taylor-swift-tour-reignite-fan-frustration-ticketmaster-rcna57164\">outages on the Ticketmaster website\u003c/a> left scores of fans frustrated and empty-handed when the first wave of tickets for the 52-date Eras Tour, scheduled for next year and Swift’s first since 2018, went on sale on Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13906513']Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>[aside postid='arts_13846754']“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>[aside postid='arts_13841293']Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>[aside postid='arts_13884673']Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1413,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 36
},
"modified": 1705006144,
"excerpt": "Ticketmaster says unprecedented demand caused tech issues, frustrating fans. Some Democrats say the problem is actually with the company's market power.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ticketmaster says unprecedented demand caused tech issues, frustrating fans. Some Democrats say the problem is actually with the company's market power.",
"title": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster's Dominance | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster's Dominance",
"datePublished": "2022-11-17T15:54:34-08:00",
"dateModified": "2024-01-11T12:49:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1137465465&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 17 Nov 2022 15:57:10 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 17 Nov 2022 15:57:10 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/11/17/1137465465/taylor-swift-ticketmaster-klobuchar-tennessee?ft=nprml&f=1137465465",
"nprImageAgency": "Getty Images for MTV/Paramount G",
"nprStoryId": "1137465465",
"nprByline": "Rachel Treisman",
"sticky": false,
"nprImageCredit": "Jamie McCarthy",
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 17 Nov 2022 15:57:00 -0500",
"path": "/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ticket sales for Taylor Swift’s upcoming tour have not gone, in the words of the chart-topping singer, \u003ca href=\"https://www.npr.org/sections/now-playing/2021/11/12/1054886542/taylor-swift-all-too-well-10-minute-version-taylors-version-from-the-vault\">all too well\u003c/a>.\u003c/p>\n\u003cp>Mixed messages, long wait times and temporary \u003ca href=\"https://www.nbcnews.com/business/ticket-sales-taylor-swift-tour-reignite-fan-frustration-ticketmaster-rcna57164\">outages on the Ticketmaster website\u003c/a> left scores of fans frustrated and empty-handed when the first wave of tickets for the 52-date Eras Tour, scheduled for next year and Swift’s first since 2018, went on sale on Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13906513",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\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>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13846754",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13841293",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13884673",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance",
"authors": [
"byline_arts_13921777"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_19106",
"arts_3219",
"arts_3026",
"arts_4802"
],
"affiliates": [
"arts_10778"
],
"featImg": "arts_13921780",
"label": "arts_10778"
},
"arts_13912555": {
"type": "posts",
"id": "arts_13912555",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13912555",
"score": null,
"sort": [
1651172427000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1651172427,
"format": "standard",
"title": "‘Escapism Is a Cop-Out’: Two Years Into a Pandemic, Why Isn’t COVID on TV?",
"headTitle": "‘Escapism Is a Cop-Out’: Two Years Into a Pandemic, Why Isn’t COVID on TV? | KQED",
"content": "\u003cp>Before being slapped at the Oscars, Chris Rock joked about the unmasked celebrity crowd “just breathing raw dog tonight.” The lead-up to the ceremony was marked by \u003ca href=\"https://www.vulture.com/2022/02/academy-announces-2022-oscars-covid-19-vaccination-policy.html\" target=\"_blank\" rel=\"noopener noreferrer\">dodgy COVID policies\u003c/a>.\u003c/p>\n\u003cp>So perhaps it should come as no surprise that there was nary a pandemic mention in the nominated works. Two years in, and the film industry is still ignoring the coronavirus.\u003c/p>\n\u003cp>TV is no better. Early on, a few shows made half-hearted attempts to incorporate the once-in-a-generation pandemic into their storylines: \u003cem>The Resident, 9-1-1\u003c/em> and \u003cem>Brooklyn Nine-Nine\u003c/em> all paid COVID lip service before all the masks disappeared. \u003cem>It’s Always Sunny in Philadelphia\u003c/em> gave it two episodes, while \u003cem>And Just Like That…\u003c/em>’s infamous first episode alluded to the pandemic in the past tense.\u003c/p>\n\u003cfigure id=\"attachment_13912585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-800x533.jpg\" alt=\"a crowded party scene with people cheering and raising their arms\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘And Just Like That…’ with no masks in sight. \u003ccite>(Craig Blankenhorn / HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One could blame the long production schedule of film and television. Although lockdowns still produced new music (two Taylor Swift albums, a \u003ca href=\"https://www.youtube.com/watch?v=OT20KfhnQow\" target=\"_blank\" rel=\"noopener noreferrer\">social distancing anthem\u003c/a> from E-40 and a pro-vaxx redux of Juvenile’s “Back that Azz Up”), visual media requires more active participants and long-term planning. Sure, there are exceptions, but one doesn’t expect a long production like \u003cem>Bob’s Burgers\u003c/em> to be as up-to-date as an episode of \u003cem>South Park\u003c/em> (made in seven days).\u003c/p>\n\u003cp>[aside postid='arts_13908472']Still, that excuse only goes so far—all pop culture becomes dated. Hell, an episode’s soundtrack becomes a playlist the next day. I’d argue that ignoring a major contemporary event is hypocritical when trying to stay current. COVID-19’s been around for two years. I think that puts it in the category of HIV/AIDS or 9/11, in that it’s not ending soon and worth discussing for a long time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a San Francisco native, I don’t bring up AIDS lightly. I remember when it either wasn’t mentioned at all or was used like cancer to show a character’s tragic end (\u003cem>Philadelphia, Boys on the Side\u003c/em>). Yet, four decades later, we’ve seen narratives justifying AIDS as punishment for an “immoral” character (Tyler Perry’s 2013 \u003cem>Temptation\u003c/em>). Entertainment we consciously seek out lingers in the consciousness and normalizes the behaviors of its characters. It’s why we say “representation matters.”\u003c/p>\n\u003cp>That’s why the absence of COVID-related content is unsettling, given the strides marginalized creators have made in entertainment. For us, \u003ca href=\"https://blackcoalitionagainstcovid.org/wp-content/uploads/2022/03/2022-Report-State-of-Black-America-and-COVID-19-A-Two-Year-Assessment-3292022.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">COVID infection rates are as high\u003c/a> as access to COVID resources is low. We need our voices heard and our struggle portrayed. Instead, those marginalized creators are ignoring that very struggle.\u003c/p>\n\u003cfigure id=\"attachment_13912586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-800x533.jpg\" alt=\"a group of people cheer at a birthday party\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A birthday party scene from Season 5 of ‘Insecure.’ \u003ccite>(Raymond Liu/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pamela Adlon insisted the production of her show \u003cem>better things\u003c/em> \u003ca href=\"https://www.indiewire.com/2019/04/better-things-pamela-adlon-tv-show-interview-season-3-1202059849/\" target=\"_blank\" rel=\"noopener noreferrer\">be as eco-friendly\u003c/a> as it is safe for women (including banning co-creator Louis CK), but the show hasn’t mentioned COVID in its still-running final season. Issa Rae revels in the acclaim she garnered for \u003cem>Insecure\u003c/em>, but its 2021 final season—shot partly here in the Bay—refused to address either the pandemic or the George Floyd protests. Even \u003cem>Euphoria\u003c/em>, lauded for its portrayal of contemporary teens, shot two feature-length specials and an entire season during lockdown without a single virus mention on camera. (Meanwhile, one cast member’s notable absence may be \u003ca href=\"https://www.thedailybeast.com/why-euphoria-star-algee-smith-is-missing-this-season\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-related\u003c/a>.)\u003c/p>\n\u003cp>How well can these works truly represent the characters they portray if they ignore what their audiences have now struggled with for two years? Like \u003cem>Euphoria\u003c/em>, the CBS sitcom \u003cem>Mom\u003c/em> was lauded for mixing entertainment with its honest portrayals of addiction. And like \u003cem>Euphoria\u003c/em>, \u003cem>Mom\u003c/em>’s final, lockdown-shot season ignored the pandemic, despite substance abuse emerging as a dangerous COVID-era \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/daily-life-coping/stress-coping/alcohol-use.html\" target=\"_blank\" rel=\"noopener noreferrer\">coping mechanism\u003c/a>. [aside postid='arts_13909218']\u003c/p>\n\u003cp>Claiming “escapism” is a cop-out of toxic positivity. It assumes someone lacks the mental wherewithal to address serious topics. What’s more, most works ignoring the pandemic contradict what we already know of their characters. Most vampires on \u003cem>What We Do in the Shadows\u003c/em> are multi-century-old Europeans, meaning they’ve been through multiple plagues. Hell, a common trope in vampire fiction—from Bram Stoker and Richard Matheson to San Francisco’s own Anne Rice and Christopher Moore—is for the vamps to hide in plain sight by letting the public believe their victims died of some illness. That makes it perfect for \u003cem>Shadows’\u003c/em> morbid humor, but somehow this plague has passed them by.\u003c/p>\n\u003cfigure id=\"attachment_13912587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912587\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-800x387.jpg\" alt=\"a woman with blue hair wears a face mask as she passes by protestors\" width=\"800\" height=\"387\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-800x387.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-1020x493.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-768x371.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1.jpg 1260w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zoe Kravitz in a still from ‘KIMI,’ during a scene where her character wears a mask while encountering protesters in Seattle.\u003c/figcaption>\u003c/figure>\n\u003cp>I haven’t seen Steven Soderbergh’s \u003cem>KIMI\u003c/em>, which I’m told is one of the few recent films to truly acknowledge the pandemic. But I’ve seen both great seasons of HBO’s \u003cem>Betty\u003c/em>, the latter of which features its teen leads living in a post-George Floyd world of COVID and Karens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I wish those weren’t outliers in mainstream pop culture. I haven’t been to the movies in two years, but I hope films and series lean more heavily into COVID-related material. After all, if I wanted to watch shows where everyone ignores the virus, I’d just watch the news.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 932,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705006916,
"excerpt": "Entertainment can influence behavior or help us process struggle. What does it mean that so few films and TV shows have acknowledged COVID-19?",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Entertainment can influence behavior or help us process struggle. What does it mean that so few films and TV shows have acknowledged COVID-19?",
"title": "‘Escapism Is a Cop-Out’: Two Years Into a Pandemic, Why Isn’t COVID on TV? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Escapism Is a Cop-Out’: Two Years Into a Pandemic, Why Isn’t COVID on TV?",
"datePublished": "2022-04-28T12:00:27-07:00",
"dateModified": "2024-01-11T13:01:56-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "escapism-is-a-cop-out-two-years-into-a-pandemic-why-isnt-covid-on-tv",
"status": "publish",
"sourceUrl": "https://www.kqed.org/arts/category/commentary",
"templateType": "standard",
"nprByline": "Charles Lewis III",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"source": "Commentary",
"showOnAuthorArchivePages": "No",
"path": "/arts/13912555/escapism-is-a-cop-out-two-years-into-a-pandemic-why-isnt-covid-on-tv",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before being slapped at the Oscars, Chris Rock joked about the unmasked celebrity crowd “just breathing raw dog tonight.” The lead-up to the ceremony was marked by \u003ca href=\"https://www.vulture.com/2022/02/academy-announces-2022-oscars-covid-19-vaccination-policy.html\" target=\"_blank\" rel=\"noopener noreferrer\">dodgy COVID policies\u003c/a>.\u003c/p>\n\u003cp>So perhaps it should come as no surprise that there was nary a pandemic mention in the nominated works. Two years in, and the film industry is still ignoring the coronavirus.\u003c/p>\n\u003cp>TV is no better. Early on, a few shows made half-hearted attempts to incorporate the once-in-a-generation pandemic into their storylines: \u003cem>The Resident, 9-1-1\u003c/em> and \u003cem>Brooklyn Nine-Nine\u003c/em> all paid COVID lip service before all the masks disappeared. \u003cem>It’s Always Sunny in Philadelphia\u003c/em> gave it two episodes, while \u003cem>And Just Like That…\u003c/em>’s infamous first episode alluded to the pandemic in the past tense.\u003c/p>\n\u003cfigure id=\"attachment_13912585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-800x533.jpg\" alt=\"a crowded party scene with people cheering and raising their arms\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘And Just Like That…’ with no masks in sight. \u003ccite>(Craig Blankenhorn / HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One could blame the long production schedule of film and television. Although lockdowns still produced new music (two Taylor Swift albums, a \u003ca href=\"https://www.youtube.com/watch?v=OT20KfhnQow\" target=\"_blank\" rel=\"noopener noreferrer\">social distancing anthem\u003c/a> from E-40 and a pro-vaxx redux of Juvenile’s “Back that Azz Up”), visual media requires more active participants and long-term planning. Sure, there are exceptions, but one doesn’t expect a long production like \u003cem>Bob’s Burgers\u003c/em> to be as up-to-date as an episode of \u003cem>South Park\u003c/em> (made in seven days).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13908472",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Still, that excuse only goes so far—all pop culture becomes dated. Hell, an episode’s soundtrack becomes a playlist the next day. I’d argue that ignoring a major contemporary event is hypocritical when trying to stay current. COVID-19’s been around for two years. I think that puts it in the category of HIV/AIDS or 9/11, in that it’s not ending soon and worth discussing 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>As a San Francisco native, I don’t bring up AIDS lightly. I remember when it either wasn’t mentioned at all or was used like cancer to show a character’s tragic end (\u003cem>Philadelphia, Boys on the Side\u003c/em>). Yet, four decades later, we’ve seen narratives justifying AIDS as punishment for an “immoral” character (Tyler Perry’s 2013 \u003cem>Temptation\u003c/em>). Entertainment we consciously seek out lingers in the consciousness and normalizes the behaviors of its characters. It’s why we say “representation matters.”\u003c/p>\n\u003cp>That’s why the absence of COVID-related content is unsettling, given the strides marginalized creators have made in entertainment. For us, \u003ca href=\"https://blackcoalitionagainstcovid.org/wp-content/uploads/2022/03/2022-Report-State-of-Black-America-and-COVID-19-A-Two-Year-Assessment-3292022.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">COVID infection rates are as high\u003c/a> as access to COVID resources is low. We need our voices heard and our struggle portrayed. Instead, those marginalized creators are ignoring that very struggle.\u003c/p>\n\u003cfigure id=\"attachment_13912586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-800x533.jpg\" alt=\"a group of people cheer at a birthday party\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A birthday party scene from Season 5 of ‘Insecure.’ \u003ccite>(Raymond Liu/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pamela Adlon insisted the production of her show \u003cem>better things\u003c/em> \u003ca href=\"https://www.indiewire.com/2019/04/better-things-pamela-adlon-tv-show-interview-season-3-1202059849/\" target=\"_blank\" rel=\"noopener noreferrer\">be as eco-friendly\u003c/a> as it is safe for women (including banning co-creator Louis CK), but the show hasn’t mentioned COVID in its still-running final season. Issa Rae revels in the acclaim she garnered for \u003cem>Insecure\u003c/em>, but its 2021 final season—shot partly here in the Bay—refused to address either the pandemic or the George Floyd protests. Even \u003cem>Euphoria\u003c/em>, lauded for its portrayal of contemporary teens, shot two feature-length specials and an entire season during lockdown without a single virus mention on camera. (Meanwhile, one cast member’s notable absence may be \u003ca href=\"https://www.thedailybeast.com/why-euphoria-star-algee-smith-is-missing-this-season\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-related\u003c/a>.)\u003c/p>\n\u003cp>How well can these works truly represent the characters they portray if they ignore what their audiences have now struggled with for two years? Like \u003cem>Euphoria\u003c/em>, the CBS sitcom \u003cem>Mom\u003c/em> was lauded for mixing entertainment with its honest portrayals of addiction. And like \u003cem>Euphoria\u003c/em>, \u003cem>Mom\u003c/em>’s final, lockdown-shot season ignored the pandemic, despite substance abuse emerging as a dangerous COVID-era \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/daily-life-coping/stress-coping/alcohol-use.html\" target=\"_blank\" rel=\"noopener noreferrer\">coping mechanism\u003c/a>. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13909218",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Claiming “escapism” is a cop-out of toxic positivity. It assumes someone lacks the mental wherewithal to address serious topics. What’s more, most works ignoring the pandemic contradict what we already know of their characters. Most vampires on \u003cem>What We Do in the Shadows\u003c/em> are multi-century-old Europeans, meaning they’ve been through multiple plagues. Hell, a common trope in vampire fiction—from Bram Stoker and Richard Matheson to San Francisco’s own Anne Rice and Christopher Moore—is for the vamps to hide in plain sight by letting the public believe their victims died of some illness. That makes it perfect for \u003cem>Shadows’\u003c/em> morbid humor, but somehow this plague has passed them by.\u003c/p>\n\u003cfigure id=\"attachment_13912587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912587\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-800x387.jpg\" alt=\"a woman with blue hair wears a face mask as she passes by protestors\" width=\"800\" height=\"387\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-800x387.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-1020x493.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-768x371.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1.jpg 1260w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zoe Kravitz in a still from ‘KIMI,’ during a scene where her character wears a mask while encountering protesters in Seattle.\u003c/figcaption>\u003c/figure>\n\u003cp>I haven’t seen Steven Soderbergh’s \u003cem>KIMI\u003c/em>, which I’m told is one of the few recent films to truly acknowledge the pandemic. But I’ve seen both great seasons of HBO’s \u003cem>Betty\u003c/em>, the latter of which features its teen leads living in a post-George Floyd world of COVID and Karens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I wish those weren’t outliers in mainstream pop culture. I haven’t been to the movies in two years, but I hope films and series lean more heavily into COVID-related material. After all, if I wanted to watch shows where everyone ignores the virus, I’d just watch the news.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13912555/escapism-is-a-cop-out-two-years-into-a-pandemic-why-isnt-covid-on-tv",
"authors": [
"byline_arts_13912555"
],
"categories": [
"arts_1",
"arts_2303",
"arts_75",
"arts_990"
],
"tags": [
"arts_2767",
"arts_11014",
"arts_1601",
"arts_12226",
"arts_10278",
"arts_10985",
"arts_1191",
"arts_3026",
"arts_2792"
],
"featImg": "arts_13912583",
"label": "source_arts_13912555"
},
"arts_13906513": {
"type": "posts",
"id": "arts_13906513",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13906513",
"score": null,
"sort": [
1637792208000
]
},
"guestAuthors": [],
"slug": "all-too-well-parody-jake-gyllenhaal-taylor-swift-john-elliott-san-francisco",
"title": "SF Musician Releases ‘All Too Well (Jake’s Version)’ in Defense of Gyllenhaal",
"publishDate": 1637792208,
"format": "standard",
"headTitle": "SF Musician Releases ‘All Too Well (Jake’s Version)’ in Defense of Gyllenhaal | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>For two weeks now, Taylor Swift fans have been obsessing over her new, 10-minute version of “All Too Well,” and its \u003ca href=\"https://www.youtube.com/watch?v=tollGa3S0o8\" target=\"_blank\" rel=\"noopener noreferrer\">gorgeous accompanying short film\u003c/a> starring Sadie Sink and Dylan O’Brien.\u003c/p>\n\u003cp>Online analysis has mostly revolved around reveling in the video’s many Easter eggs (the red scarf! the 1989 car! the birthday cake!) and hating on the doo-doo head who broke Taylor’s heart back in 2010. Namely Jake Gyllenhaal, with all of his plaid shirts and fancy friends and mean words. Never mind that some of the lyrics Swift added to “All Too Well (Taylor’s Version)” are barbed, to say the least. Most notably the line: “I’ll get older but your lovers stay my age.” (The 40-year-old Gyllenhaal is currently dating a 25-year-old model. Ouch.)\u003c/p>\n\u003cp>[aside postID='arts_13883873,pop_112404,pop_111362']Gyllenhaal has now been paying for his three-month relationship with Swift for approximately nine years, ever since her \u003cem>Red\u003c/em> album originally came out. (Let’s not forget about the Jake-baiting video for “\u003ca href=\"https://www.youtube.com/watch?v=WA4iX5D9Z64\" target=\"_blank\" rel=\"noopener noreferrer\">We Are Never Ever Getting Back Together\u003c/a>” either.) For that entire period, Gyllenhaal has refused to offer up his version of events, or get drawn into a conversation about his ex.\u003c/p>\n\u003cp>Which is, oddly, where San Francisco singer/songwriter \u003ca href=\"https://www.thehereafterishere.com/?fbclid=IwAR1j2aQU3ejyTqQL7u1FbBMagl8BoYX5yh6LrjdNFkwQ6exNYD7H7y8CPPg\" target=\"_blank\" rel=\"noopener noreferrer\">John Elliott\u003c/a> comes in…\u003c/p>\n\u003cp>Elliott just released “\u003ca href=\"https://johnelliott.bandcamp.com/track/all-too-well-jakes-version\" target=\"_blank\" rel=\"noopener noreferrer\">All Too Well (Jake’s Version)\u003c/a>”—a rendition of the Swift track that offers Gyllenhaal some points of defense. Sung from the actor’s perspective, this new-new version makes some suggestions. Maybe Taylor’s scarf just got lost for 10 years! Maybe he was having a career crisis! Maybe he wanted to be at the damn birthday party! Maybe his family pushed him into seeming more serious than he was! Maybe he’s just “a product of the patriarchy”!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“All Too Well (Jake’s Version)” is also frequently hilarious. “There we are again, and we are looking so hot,” Elliott croons, “I almost ran the red ’cause I saw a parking spot.” Another highlight? “They say that all’s well that ends well, but I’m in a new hell—every time I open Spotify.”\u003c/p>\n\u003cp>You can enjoy Elliott’s version of Gyllenhaal’s version of events, in full, below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=660247938/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\n",
"blocks": [],
"excerpt": "John Elliott’s reimagining of the Taylor Swift epic offers some defenses (and jokes) written from the actor’s perspective.",
"status": "publish",
"parent": 0,
"modified": 1726771254,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": true,
"iframeSrcs": [
"https://bandcamp.com/EmbeddedPlayer/track=660247938/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"
],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 413
},
"headData": {
"title": "This ‘All Too Well’ Parody Tells Jake Gyllenhaal’s Version of Events | KQED",
"description": "John Elliott’s reimagining of the Taylor Swift epic offers some defenses (and jokes) written from the actor’s perspective.",
"ogTitle": "SF Musician Releases ‘All Too Well (Jake’s Version)’ in Defense of Gyllenhaal",
"ogDescription": "",
"ogImgId": "",
"twTitle": "SF Musician Releases ‘All Too Well (Jake’s Version)’ in Defense of Gyllenhaal",
"twDescription": "",
"twImgId": "",
"socialTitle": "This ‘All Too Well’ Parody Tells Jake Gyllenhaal’s Version of Events%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "SF Musician Releases ‘All Too Well (Jake’s Version)’ in Defense of Gyllenhaal",
"datePublished": "2021-11-24T14:16:48-08:00",
"dateModified": "2024-09-19T11:40:54-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"path": "/arts/13906513/all-too-well-parody-jake-gyllenhaal-taylor-swift-john-elliott-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For two weeks now, Taylor Swift fans have been obsessing over her new, 10-minute version of “All Too Well,” and its \u003ca href=\"https://www.youtube.com/watch?v=tollGa3S0o8\" target=\"_blank\" rel=\"noopener noreferrer\">gorgeous accompanying short film\u003c/a> starring Sadie Sink and Dylan O’Brien.\u003c/p>\n\u003cp>Online analysis has mostly revolved around reveling in the video’s many Easter eggs (the red scarf! the 1989 car! the birthday cake!) and hating on the doo-doo head who broke Taylor’s heart back in 2010. Namely Jake Gyllenhaal, with all of his plaid shirts and fancy friends and mean words. Never mind that some of the lyrics Swift added to “All Too Well (Taylor’s Version)” are barbed, to say the least. Most notably the line: “I’ll get older but your lovers stay my age.” (The 40-year-old Gyllenhaal is currently dating a 25-year-old model. Ouch.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13883873,pop_112404,pop_111362",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Gyllenhaal has now been paying for his three-month relationship with Swift for approximately nine years, ever since her \u003cem>Red\u003c/em> album originally came out. (Let’s not forget about the Jake-baiting video for “\u003ca href=\"https://www.youtube.com/watch?v=WA4iX5D9Z64\" target=\"_blank\" rel=\"noopener noreferrer\">We Are Never Ever Getting Back Together\u003c/a>” either.) For that entire period, Gyllenhaal has refused to offer up his version of events, or get drawn into a conversation about his ex.\u003c/p>\n\u003cp>Which is, oddly, where San Francisco singer/songwriter \u003ca href=\"https://www.thehereafterishere.com/?fbclid=IwAR1j2aQU3ejyTqQL7u1FbBMagl8BoYX5yh6LrjdNFkwQ6exNYD7H7y8CPPg\" target=\"_blank\" rel=\"noopener noreferrer\">John Elliott\u003c/a> comes in…\u003c/p>\n\u003cp>Elliott just released “\u003ca href=\"https://johnelliott.bandcamp.com/track/all-too-well-jakes-version\" target=\"_blank\" rel=\"noopener noreferrer\">All Too Well (Jake’s Version)\u003c/a>”—a rendition of the Swift track that offers Gyllenhaal some points of defense. Sung from the actor’s perspective, this new-new version makes some suggestions. Maybe Taylor’s scarf just got lost for 10 years! Maybe he was having a career crisis! Maybe he wanted to be at the damn birthday party! Maybe his family pushed him into seeming more serious than he was! Maybe he’s just “a product of the patriarchy”!\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>“All Too Well (Jake’s Version)” is also frequently hilarious. “There we are again, and we are looking so hot,” Elliott croons, “I almost ran the red ’cause I saw a parking spot.” Another highlight? “They say that all’s well that ends well, but I’m in a new hell—every time I open Spotify.”\u003c/p>\n\u003cp>You can enjoy Elliott’s version of Gyllenhaal’s version of events, in full, below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=660247938/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13906513/all-too-well-parody-jake-gyllenhaal-taylor-swift-john-elliott-san-francisco",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_11323",
"arts_2415",
"arts_16182",
"arts_3026"
],
"featImg": "arts_13906523",
"label": "arts"
},
"arts_13899731": {
"type": "posts",
"id": "arts_13899731",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13899731",
"score": null,
"sort": [
1625177334000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1625177334,
"format": "standard",
"title": "Bay Area Police Sergeant Played Taylor Swift to Get Protesters’ Video Taken Down",
"headTitle": "Bay Area Police Sergeant Played Taylor Swift to Get Protesters’ Video Taken Down | KQED",
"content": "\u003cp>A video uploaded by Oakland activist group \u003ca href=\"https://www.antipoliceterrorproject.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Anti Police-Terror Project\u003c/a> today shows Sergeant D. Shelby of the Alameda County Sheriff playing a Taylor Swift song during a conversation with protesters. That might sound innocent enough. But in the video, Shelby said his intention was to get the video taken down from YouTube for featuring Swift’s copyrighted material. That’s despite the fact that the public has a right to record police officers doing their jobs. Now, he’s being investigated for his actions.\u003c/p>\n\u003cp>The interaction took place on the steps of the Oakland courthouse on Tuesday during a pre-trial hearing for \u003ca href=\"https://www.eastbaytimes.com/2021/04/16/san-leandro-police-officer-should-have-used-taser-during-fatal-shooting/\" target=\"_blank\" rel=\"noopener noreferrer\">Jason Fletcher\u003c/a>, the former police officer accused of shooting Steven Taylor in a Walmart in 2020. In the video, Shelby can be seen telling protesters from the Anti Police-Terror Project to move their banners. When APTP policy director James Burch questioned his reasoning, Shelby took out his cell phone and hit play on “Blank Space” by Taylor Swift.\u003c/p>\n\u003cp>Incredulous, Burch asked him if this he was starting a dance party. “I’m playing my music so you can’t post it on YouTube,” Shelby said.\u003c/p>\n\u003cp>https://youtu.be/cmZmo81Cdcc\u003c/p>\n\u003cp>He was referring to YouTube’s automated \u003ca href=\"https://www.youtube.com/howyoutubeworks/our-commitments/safeguarding-copyright/\" target=\"_blank\" rel=\"noopener noreferrer\">copyright ID\u003c/a> system, which detects unauthorized use of protected material and removes infringing content. So far, Anti Police-Terror Project’s video remains on the platform. Earlier this year, \u003ca href=\"https://www.vice.com/en/article/bvxb94/is-this-beverly-hills-cop-playing-sublimes-santeria-to-avoid-being-livestreamed\" target=\"_blank\" rel=\"noopener noreferrer\">Vice\u003c/a> reported that Beverly Hills police attempted a similar maneuver: an officer played Sublime when an L.A. activist filmed him while attempting to get answers about a ticket.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shelby’s colleague, Sergeant Ray Kelly, \u003ca href=\"https://www.ktvu.com/news/alameda-county-sheriff-sergeant-being-investigated-after-sergeant-plays-taylor-swift\" target=\"_blank\" rel=\"noopener noreferrer\">told KTVU\u003c/a> that Shelby has been reported to internal affairs. “[This] is not something we condone or approve. We have a code of conduct all officers must follow,” Kelly said.\u003c/p>\n\u003cp>Chessie Thacher, senior staff attorney at the American Civil Liberties Union Northern California, says Shelby’s actions in the video appeared to violate the protesters’ First Amendment rights in multiple ways. [aside postid='arts_13899431']\u003c/p>\n\u003cp>“What I see when I see that video is the police officer first interfering with people’s ability to protest,” Thacher says. “And then I see a police officer who is also attempting to interfere with the First Amendment right to access criminal court proceedings.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thacher added that courts of appeal across the country have affirmed the public’s right to record police. “And police are now trying to get around this right by using copyright laws as a funny shield to prevent their poor conduct from being more widely seen,” Thacher added. “[It’s] really just shameful.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 456,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705008112,
"excerpt": "When activists filmed Sergeant D. Shelby outside an Oakland courthouse, he played a Taylor Swift song to trigger YouTube’s copyright protection system.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "When activists filmed Sergeant D. Shelby outside an Oakland courthouse, he played a Taylor Swift song to trigger YouTube’s copyright protection system.",
"title": "Bay Area Police Sergeant Played Taylor Swift to Get Protesters’ Video Taken Down | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bay Area Police Sergeant Played Taylor Swift to Get Protesters’ Video Taken Down",
"datePublished": "2021-07-01T15:08:54-07:00",
"dateModified": "2024-01-11T13:21:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bay-area-police-sergeant-played-taylor-swift-to-get-protesters-video-taken-down",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13899731/bay-area-police-sergeant-played-taylor-swift-to-get-protesters-video-taken-down",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A video uploaded by Oakland activist group \u003ca href=\"https://www.antipoliceterrorproject.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Anti Police-Terror Project\u003c/a> today shows Sergeant D. Shelby of the Alameda County Sheriff playing a Taylor Swift song during a conversation with protesters. That might sound innocent enough. But in the video, Shelby said his intention was to get the video taken down from YouTube for featuring Swift’s copyrighted material. That’s despite the fact that the public has a right to record police officers doing their jobs. Now, he’s being investigated for his actions.\u003c/p>\n\u003cp>The interaction took place on the steps of the Oakland courthouse on Tuesday during a pre-trial hearing for \u003ca href=\"https://www.eastbaytimes.com/2021/04/16/san-leandro-police-officer-should-have-used-taser-during-fatal-shooting/\" target=\"_blank\" rel=\"noopener noreferrer\">Jason Fletcher\u003c/a>, the former police officer accused of shooting Steven Taylor in a Walmart in 2020. In the video, Shelby can be seen telling protesters from the Anti Police-Terror Project to move their banners. When APTP policy director James Burch questioned his reasoning, Shelby took out his cell phone and hit play on “Blank Space” by Taylor Swift.\u003c/p>\n\u003cp>Incredulous, Burch asked him if this he was starting a dance party. “I’m playing my music so you can’t post it on YouTube,” Shelby said.\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/cmZmo81Cdcc'\n title='//www.youtube.com/embed/cmZmo81Cdcc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He was referring to YouTube’s automated \u003ca href=\"https://www.youtube.com/howyoutubeworks/our-commitments/safeguarding-copyright/\" target=\"_blank\" rel=\"noopener noreferrer\">copyright ID\u003c/a> system, which detects unauthorized use of protected material and removes infringing content. So far, Anti Police-Terror Project’s video remains on the platform. Earlier this year, \u003ca href=\"https://www.vice.com/en/article/bvxb94/is-this-beverly-hills-cop-playing-sublimes-santeria-to-avoid-being-livestreamed\" target=\"_blank\" rel=\"noopener noreferrer\">Vice\u003c/a> reported that Beverly Hills police attempted a similar maneuver: an officer played Sublime when an L.A. activist filmed him while attempting to get answers about a ticket.\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>Shelby’s colleague, Sergeant Ray Kelly, \u003ca href=\"https://www.ktvu.com/news/alameda-county-sheriff-sergeant-being-investigated-after-sergeant-plays-taylor-swift\" target=\"_blank\" rel=\"noopener noreferrer\">told KTVU\u003c/a> that Shelby has been reported to internal affairs. “[This] is not something we condone or approve. We have a code of conduct all officers must follow,” Kelly said.\u003c/p>\n\u003cp>Chessie Thacher, senior staff attorney at the American Civil Liberties Union Northern California, says Shelby’s actions in the video appeared to violate the protesters’ First Amendment rights in multiple ways. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13899431",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What I see when I see that video is the police officer first interfering with people’s ability to protest,” Thacher says. “And then I see a police officer who is also attempting to interfere with the First Amendment right to access criminal court proceedings.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thacher added that courts of appeal across the country have affirmed the public’s right to record police. “And police are now trying to get around this right by using copyright laws as a funny shield to prevent their poor conduct from being more widely seen,” Thacher added. “[It’s] really just shameful.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13899731/bay-area-police-sergeant-played-taylor-swift-to-get-protesters-video-taken-down",
"authors": [
"11387"
],
"categories": [
"arts_1"
],
"tags": [
"arts_7573",
"arts_10342",
"arts_10278",
"arts_4730",
"arts_3026"
],
"featImg": "arts_13899790",
"label": "arts"
},
"arts_13892656": {
"type": "posts",
"id": "arts_13892656",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13892656",
"score": null,
"sort": [
1613079544000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1613079544,
"format": "standard",
"title": "Taylor Swift Announces Remake of 'Fearless,' Due in April",
"headTitle": "Taylor Swift Announces Remake of ‘Fearless,’ Due in April | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/120581188/taylor-swift\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Swift\u003c/a> has kept famously busy in pandemic times: On the heels of 2019’s \u003cem>Lover\u003c/em> and a 2020 Netflix documentary, she’s released two albums in the past seven months alone, all while fighting a public battle for control of her past recordings. Now, she’s got another announcement: She’s releasing a rerecorded and expanded version of her 2008 album \u003cem>Fearless\u003c/em> in April, titled \u003cem>Fearless (Taylor’s Version)\u003c/em>. At midnight Friday, she’ll drop its first single, “Love Story (Taylor’s Version).” It’s one of 26 songs slated for the \u003cem>Fearless\u003c/em> remake, which will include re-recordings of not only the original album, but also \u003cem>Fearless\u003c/em>‘ many outtakes and bonus tracks. Six have never been released in any form. In a Twitter post Thursday morning, Swift provided some context for the new recordings.\u003c/p>\n\u003cp>https://twitter.com/taylorswift13/status/1359854050544615425\u003c/p>\n\u003cp>“I’ve spoken a lot about why I’m remaking my first six albums,” she wrote, “but the way I’ve chosen to do this will hopefully help illuminate where I’m coming from. Artists should own their own work for so many reasons, but the most screamingly obvious one is that the artist is the only one who really knows that body of work. For example, only I know which songs I wrote that almost made the \u003cem>Fearless\u003c/em> album. Songs I absolutely adored, but were held back for different reasons (don’t want too many breakup songs, don’t want too many down tempo songs, can’t fit that many songs on a physical CD).” [aside postid='arts_13874070']\u003c/p>\n\u003cp>Swift has feuded publicly with her former label, Big Machine, which released her first six albums, including \u003cem>Fearless\u003c/em>. The singer \u003ca href=\"https://www.npr.org/2019/08/22/753393630/look-what-they-made-her-do-taylor-swift-to-re-record-her-catalog\" target=\"_blank\" rel=\"noopener noreferrer\">announced in 2019\u003c/a> that she’d record and release new versions of that music as a way of regaining control after Big Machine was sold to an umbrella company owned by Scooter Braun, an industry figure with whom Swift has had many public differences.\u003c/p>\n\u003cp>The original \u003cem>Fearless\u003c/em> won Album of the Year at the 2009 Grammy Awards. Next month, she’ll learn if 2020’s \u003cem>folklore\u003c/em> meets the same fate: That record earned her six Grammy nominations, including Album of the Year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8xg3vE8Ie_E\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift+Announces+Remake+Of+%27Fearless%2C%27+Due+In+April&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 405,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705019489,
"excerpt": "Swift's first rerecorded album 'Fearless (Taylor's Version),' follows a long struggle to regain control of her master recordings.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Swift's first rerecorded album 'Fearless (Taylor's Version),' follows a long struggle to regain control of her master recordings.",
"title": "Taylor Swift Announces Remake of 'Fearless,' Due in April | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Taylor Swift Announces Remake of 'Fearless,' Due in April",
"datePublished": "2021-02-11T13:39:04-08:00",
"dateModified": "2024-01-11T16:31:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "taylor-swift-announces-remake-of-fearless-due-in-april",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=966892168&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 11 Feb 2021 11:46:44 -0500",
"nprLastModifiedDate": "Thu, 11 Feb 2021 11:47:16 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/02/11/966892168/taylor-swift-announces-remake-of-fearless-due-in-april?ft=nprml&f=966892168",
"nprImageAgency": "Courtesy of the artist",
"nprStoryId": "966892168",
"nprByline": "Stephen Thompson",
"sticky": false,
"nprImageCredit": "Beth Garrabrant",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 11 Feb 2021 11:46:00 -0500",
"path": "/arts/13892656/taylor-swift-announces-remake-of-fearless-due-in-april",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/120581188/taylor-swift\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Swift\u003c/a> has kept famously busy in pandemic times: On the heels of 2019’s \u003cem>Lover\u003c/em> and a 2020 Netflix documentary, she’s released two albums in the past seven months alone, all while fighting a public battle for control of her past recordings. Now, she’s got another announcement: She’s releasing a rerecorded and expanded version of her 2008 album \u003cem>Fearless\u003c/em> in April, titled \u003cem>Fearless (Taylor’s Version)\u003c/em>. At midnight Friday, she’ll drop its first single, “Love Story (Taylor’s Version).” It’s one of 26 songs slated for the \u003cem>Fearless\u003c/em> remake, which will include re-recordings of not only the original album, but also \u003cem>Fearless\u003c/em>‘ many outtakes and bonus tracks. Six have never been released in any form. In a Twitter post Thursday morning, Swift provided some context for the new recordings.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1359854050544615425"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“I’ve spoken a lot about why I’m remaking my first six albums,” she wrote, “but the way I’ve chosen to do this will hopefully help illuminate where I’m coming from. Artists should own their own work for so many reasons, but the most screamingly obvious one is that the artist is the only one who really knows that body of work. For example, only I know which songs I wrote that almost made the \u003cem>Fearless\u003c/em> album. Songs I absolutely adored, but were held back for different reasons (don’t want too many breakup songs, don’t want too many down tempo songs, can’t fit that many songs on a physical CD).” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13874070",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Swift has feuded publicly with her former label, Big Machine, which released her first six albums, including \u003cem>Fearless\u003c/em>. The singer \u003ca href=\"https://www.npr.org/2019/08/22/753393630/look-what-they-made-her-do-taylor-swift-to-re-record-her-catalog\" target=\"_blank\" rel=\"noopener noreferrer\">announced in 2019\u003c/a> that she’d record and release new versions of that music as a way of regaining control after Big Machine was sold to an umbrella company owned by Scooter Braun, an industry figure with whom Swift has had many public differences.\u003c/p>\n\u003cp>The original \u003cem>Fearless\u003c/em> won Album of the Year at the 2009 Grammy Awards. Next month, she’ll learn if 2020’s \u003cem>folklore\u003c/em> meets the same fate: That record earned her six Grammy nominations, including Album of the Year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/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/8xg3vE8Ie_E'\n title='//www.youtube.com/embed/8xg3vE8Ie_E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift+Announces+Remake+Of+%27Fearless%2C%27+Due+In+April&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13892656/taylor-swift-announces-remake-of-fearless-due-in-april",
"authors": [
"byline_arts_13892656"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_977",
"arts_9845",
"arts_3026"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13892666",
"label": "arts_137"
},
"arts_13884673": {
"type": "posts",
"id": "arts_13884673",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13884673",
"score": null,
"sort": [
1597100592000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1597100592,
"format": "standard",
"title": "The Escapist Land of 'Cottagecore,' From Taylor Swift to Marie Antoinette",
"headTitle": "The Escapist Land of ‘Cottagecore,’ From Taylor Swift to Marie Antoinette | KQED",
"content": "\u003cp>The promotional black and white photos from Taylor Swift’s new album \u003cem>Folklore\u003c/em> show the pop star shedding her lipsticked glamour for an ethereal frock to frolic in the meadow.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K-a8s8OLBSE\u003c/p>\n\u003cp>For those who’ve watched these signifiers bubble up on corners of the internet for the past few years, Swift had just introduced a \u003ca href=\"https://www.theringer.com/music/2020/7/28/21344659/taylor-swift-bon-iver-exile-folklore-isolation-album\" target=\"_blank\" rel=\"noopener noreferrer\">new aesthetic to the mainstream\u003c/a>. The packaging of the pared-down record, produced during lockdown in her Los Angeles home, epitomizes a romanticization of the rural lifestyle known as “cottagecore,” and it’s seeing a marked boom during the coronavirus pandemic.\u003c/p>\n\u003cp>Visually, cottagecore looks like this: sourdough bread starters, foraged mushrooms, open meadows, freshly picked flowers, homegrown produce, knitting, baking pies, and, yes, rustic cottages. The pastoral interpretations live on TikTok, Pinterest, and prominently on Tumblr.\u003c/p>\n\u003cp>At a time when many feel trapped and overwhelmed, cottagecore offers a wholesome, back-to-basics escape. In that way, it might be seen as the antidote of \u003ca href=\"https://www.npr.org/2020/07/19/892728595/your-doomscrolling-breeds-anxiety-here-s-how-to-stop-the-cycle\" target=\"_blank\" rel=\"noopener noreferrer\">“doomscrolling,”\u003c/a> a habit that’s intensified during today’s crises in which one scrolls through the endless feed of bad news.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/CDucMupByQK/\u003c/p>\n\u003cp>“It was comfortable and soothing and kind of helped people process things,” said Amanda Brennan, the content and community associate with Tumblr who’s better known as the \u003ca href=\"https://www.washingtonpost.com/news/the-intersect/wp/2015/12/21/tumblrs-meme-librarian-has-the-best-job-on-the-internet/\" target=\"_blank\" rel=\"noopener noreferrer\">company’s “meme librarian.”\u003c/a>\u003c/p>\n\u003cp>The blogging platform saw its first use of the cottagecore hashtag in March 2014. Six years later, Tumblr has seen an increase in fascination with bucolic imagery. Between March and April of this year, the engagements with #cottagecore jumped 153%, according to Tumblr. The number of “likes” went up more than 500% in that time.\u003c/p>\n\u003cp>“It coincided with how we saw COVID-19 proliferate and more and more cases pop up in the U.S.” Brennan said. “It basically trends with when the CDC releases more data on COVID cases.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884677 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM.png\" alt=\"\" width=\"594\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM.png 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM-160x204.png 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003c/p>\n\u003cp>There are subcultures within the aesthetic: \u003ca href=\"https://i-d.vice.com/en_uk/article/g5xjgj/cottagecore-aesthetic-lgbt-teens-tumblr-tik-tok\" target=\"_blank\" rel=\"noopener noreferrer\">“#cottagecorelesbians” is popular\u003c/a> among lesbians; “\u003ca href=\"https://www.pinterest.ca/ashnadhillon1998/cottagegore/\" target=\"_blank\" rel=\"noopener noreferrer\">cottagegore\u003c/a>” and “goth cottagecore” are darker versions of the same aesthetic. There are adjacent styles, too: “\u003ca href=\"https://www.instagram.com/explore/tags/grandmacore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">grandmacore\u003c/a>,” “\u003ca href=\"https://www.instagram.com/explore/tags/goblincore/\" target=\"_blank\" rel=\"noopener noreferrer\">goblincore\u003c/a>,” “\u003ca href=\"https://www.tiktok.com/tag/frogcore?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">frogcore\u003c/a>.” References to Black Lives Matter and other social justice causes are \u003ca href=\"https://cia-sunflower.tumblr.com/post/625455675678556160/source-x#notes?ref_url=https://www.npr.org/templates/story/story.php?storyId=900498227&live=1#_=_\" target=\"_blank\" rel=\"noopener noreferrer\">found in many posts\u003c/a>.\u003c/p>\n\u003cp>Evienne Yanney, a 16-year-old in California, \u003ca href=\"https://www.vox.com/the-goods/2020/8/3/21349640/cottagecore-taylor-swift-folklore-lesbian-clothes-animal-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">told Vox\u003c/a> that, as a lesbian, she found solace in Instagram’s cottagecore feeds, because “many of us aren’t really accepted in the modern world, so the thought of running away to a cottage is really, I guess, kind of soothing.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884678 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM.png\" alt=\"\" width=\"548\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM.png 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM-160x152.png 160w\" sizes=\"(max-width: 548px) 100vw, 548px\">\u003c/p>\n\u003cp>The cottagecore aesthetic has caught the attention of a small museum in Berkshire, England, because it conjures up the hands-in-the-dirt imagery of European peasants.\u003c/p>\n\u003cp>“When these aesthetics rise up you think, ‘Oh, this is all a bit new,’ ” said Joe Vaughan, digital editor of the Museum of English Rural Life. “But there is actually a longer legacy of people putting on the clothes of the poor and kind of frolicking around in it.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/TheMERL/status/1290590669157867520\" target=\"_blank\" rel=\"noopener noreferrer\">viral tweet\u003c/a> from the museum, Vaughan facetiously pinned French queen Marie Antoinette as an “icon” in the formation of cottagecore.\u003c/p>\n\u003cp>In the late 18th century, Antoinette, inspired by the naturalistic paintings of the time—something of a Tumblr board of her own—commissioned the construction of a rustic retreat in the greenery outside the Palace of Versailles, known as the Hamlet. The string of cottages gave her the feeling of escapism not far from palace grounds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884675 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-954607730_custom-e5297dc9fe7a970b09a9aa5eab1dc8b5e3d3f84d-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003c/p>\n\u003cp>The queen would play the part of a shepherdess, alongside real servants, farm workers and milkmaids, \u003ca href=\"https://twitter.com/TheMERL/status/1290590699507929088?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">according to Vaughan\u003c/a>—a “pastoral nostalgia for a simple life [that] is simply not reflective of lived experience.”\u003c/p>\n\u003cp>“When farming has been so difficult, there has been some sort of pain point in that people are going rural when the actual reality of rural existence has been a nightmare of COVID-19, like everything else,” he said.\u003c/p>\n\u003cp>His intention, he said, is not to castigate those indulging in these ideals, but rather to point out that their indulgence has precedence in history.\u003c/p>\n\u003cp>Today, Tumblr’s Brennan says cottagecore is no longer just on-screen daydreaming, but is manifested in real lifestyle changes.\u003c/p>\n\u003cp>For Dia Mowery, a 20-year-old who lives in Florida, that means sharing homemade bread with the people around her, thrifting clothes, buying local or growing her own food.\u003c/p>\n\u003cp>“Cottagecore is about embracing sustainability, community and kindness,” she said.\u003c/p>\n\u003cp>Right now Mowery, who chose to postpone college this year due to the pandemic, said, “I’m finding that a lot of mental fatigue and anxieties have left me unable to do a lot of the things I’d like to do.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But on social media, her homebound isolation is customized to evoke a sense of escape, where you’ll find old annotated books, freshly cut strawberries and vintage dresses.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Escapist+Land+Of+%27Cottagecore%2C%27+From+Marie+Antoinette+To+Taylor+Swift&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 862,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 26
},
"modified": 1705020302,
"excerpt": "Cottagecore—an internet aesthetic of the rural idyll—has taken off in popularity during the pandemic.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Cottagecore—an internet aesthetic of the rural idyll—has taken off in popularity during the pandemic.",
"title": "The Escapist Land of 'Cottagecore,' From Taylor Swift to Marie Antoinette | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Escapist Land of 'Cottagecore,' From Taylor Swift to Marie Antoinette",
"datePublished": "2020-08-10T16:03:12-07:00",
"dateModified": "2024-01-11T16:45:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-escapist-land-of-cottagecore-from-taylor-swift-to-marie-antoinette",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=900498227&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprByline": "Emma Bowman",
"nprStoryDate": "Sun, 09 Aug 2020 09:00:57 -0400",
"nprLastModifiedDate": "Sun, 09 Aug 2020 09:00:57 -0400",
"featuredImageType": "standard",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2020/08/09/900498227/the-escapist-land-of-cottagecore-from-marie-antoinette-to-taylor-swift?ft=nprml&f=900498227",
"nprImageAgency": "Republic Records via AP",
"nprStoryId": "900498227",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 09 Aug 2020 09:00:00 -0400",
"path": "/arts/13884673/the-escapist-land-of-cottagecore-from-taylor-swift-to-marie-antoinette",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The promotional black and white photos from Taylor Swift’s new album \u003cem>Folklore\u003c/em> show the pop star shedding her lipsticked glamour for an ethereal frock to frolic in the meadow.\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/K-a8s8OLBSE'\n title='//www.youtube.com/embed/K-a8s8OLBSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For those who’ve watched these signifiers bubble up on corners of the internet for the past few years, Swift had just introduced a \u003ca href=\"https://www.theringer.com/music/2020/7/28/21344659/taylor-swift-bon-iver-exile-folklore-isolation-album\" target=\"_blank\" rel=\"noopener noreferrer\">new aesthetic to the mainstream\u003c/a>. The packaging of the pared-down record, produced during lockdown in her Los Angeles home, epitomizes a romanticization of the rural lifestyle known as “cottagecore,” and it’s seeing a marked boom during the coronavirus pandemic.\u003c/p>\n\u003cp>Visually, cottagecore looks like this: sourdough bread starters, foraged mushrooms, open meadows, freshly picked flowers, homegrown produce, knitting, baking pies, and, yes, rustic cottages. The pastoral interpretations live on TikTok, Pinterest, and prominently on Tumblr.\u003c/p>\n\u003cp>At a time when many feel trapped and overwhelmed, cottagecore offers a wholesome, back-to-basics escape. In that way, it might be seen as the antidote of \u003ca href=\"https://www.npr.org/2020/07/19/892728595/your-doomscrolling-breeds-anxiety-here-s-how-to-stop-the-cycle\" target=\"_blank\" rel=\"noopener noreferrer\">“doomscrolling,”\u003c/a> a habit that’s intensified during today’s crises in which one scrolls through the endless feed of bad news.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/CDucMupByQK/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It was comfortable and soothing and kind of helped people process things,” said Amanda Brennan, the content and community associate with Tumblr who’s better known as the \u003ca href=\"https://www.washingtonpost.com/news/the-intersect/wp/2015/12/21/tumblrs-meme-librarian-has-the-best-job-on-the-internet/\" target=\"_blank\" rel=\"noopener noreferrer\">company’s “meme librarian.”\u003c/a>\u003c/p>\n\u003cp>The blogging platform saw its first use of the cottagecore hashtag in March 2014. Six years later, Tumblr has seen an increase in fascination with bucolic imagery. Between March and April of this year, the engagements with #cottagecore jumped 153%, according to Tumblr. The number of “likes” went up more than 500% in that time.\u003c/p>\n\u003cp>“It coincided with how we saw COVID-19 proliferate and more and more cases pop up in the U.S.” Brennan said. “It basically trends with when the CDC releases more data on COVID cases.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884677 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM.png\" alt=\"\" width=\"594\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM.png 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM-160x204.png 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003c/p>\n\u003cp>There are subcultures within the aesthetic: \u003ca href=\"https://i-d.vice.com/en_uk/article/g5xjgj/cottagecore-aesthetic-lgbt-teens-tumblr-tik-tok\" target=\"_blank\" rel=\"noopener noreferrer\">“#cottagecorelesbians” is popular\u003c/a> among lesbians; “\u003ca href=\"https://www.pinterest.ca/ashnadhillon1998/cottagegore/\" target=\"_blank\" rel=\"noopener noreferrer\">cottagegore\u003c/a>” and “goth cottagecore” are darker versions of the same aesthetic. There are adjacent styles, too: “\u003ca href=\"https://www.instagram.com/explore/tags/grandmacore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">grandmacore\u003c/a>,” “\u003ca href=\"https://www.instagram.com/explore/tags/goblincore/\" target=\"_blank\" rel=\"noopener noreferrer\">goblincore\u003c/a>,” “\u003ca href=\"https://www.tiktok.com/tag/frogcore?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">frogcore\u003c/a>.” References to Black Lives Matter and other social justice causes are \u003ca href=\"https://cia-sunflower.tumblr.com/post/625455675678556160/source-x#notes?ref_url=https://www.npr.org/templates/story/story.php?storyId=900498227&live=1#_=_\" target=\"_blank\" rel=\"noopener noreferrer\">found in many posts\u003c/a>.\u003c/p>\n\u003cp>Evienne Yanney, a 16-year-old in California, \u003ca href=\"https://www.vox.com/the-goods/2020/8/3/21349640/cottagecore-taylor-swift-folklore-lesbian-clothes-animal-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">told Vox\u003c/a> that, as a lesbian, she found solace in Instagram’s cottagecore feeds, because “many of us aren’t really accepted in the modern world, so the thought of running away to a cottage is really, I guess, kind of soothing.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884678 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM.png\" alt=\"\" width=\"548\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM.png 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM-160x152.png 160w\" sizes=\"(max-width: 548px) 100vw, 548px\">\u003c/p>\n\u003cp>The cottagecore aesthetic has caught the attention of a small museum in Berkshire, England, because it conjures up the hands-in-the-dirt imagery of European peasants.\u003c/p>\n\u003cp>“When these aesthetics rise up you think, ‘Oh, this is all a bit new,’ ” said Joe Vaughan, digital editor of the Museum of English Rural Life. “But there is actually a longer legacy of people putting on the clothes of the poor and kind of frolicking around in it.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/TheMERL/status/1290590669157867520\" target=\"_blank\" rel=\"noopener noreferrer\">viral tweet\u003c/a> from the museum, Vaughan facetiously pinned French queen Marie Antoinette as an “icon” in the formation of cottagecore.\u003c/p>\n\u003cp>In the late 18th century, Antoinette, inspired by the naturalistic paintings of the time—something of a Tumblr board of her own—commissioned the construction of a rustic retreat in the greenery outside the Palace of Versailles, known as the Hamlet. The string of cottages gave her the feeling of escapism not far from palace grounds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884675 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-954607730_custom-e5297dc9fe7a970b09a9aa5eab1dc8b5e3d3f84d-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003c/p>\n\u003cp>The queen would play the part of a shepherdess, alongside real servants, farm workers and milkmaids, \u003ca href=\"https://twitter.com/TheMERL/status/1290590699507929088?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">according to Vaughan\u003c/a>—a “pastoral nostalgia for a simple life [that] is simply not reflective of lived experience.”\u003c/p>\n\u003cp>“When farming has been so difficult, there has been some sort of pain point in that people are going rural when the actual reality of rural existence has been a nightmare of COVID-19, like everything else,” he said.\u003c/p>\n\u003cp>His intention, he said, is not to castigate those indulging in these ideals, but rather to point out that their indulgence has precedence in history.\u003c/p>\n\u003cp>Today, Tumblr’s Brennan says cottagecore is no longer just on-screen daydreaming, but is manifested in real lifestyle changes.\u003c/p>\n\u003cp>For Dia Mowery, a 20-year-old who lives in Florida, that means sharing homemade bread with the people around her, thrifting clothes, buying local or growing her own food.\u003c/p>\n\u003cp>“Cottagecore is about embracing sustainability, community and kindness,” she said.\u003c/p>\n\u003cp>Right now Mowery, who chose to postpone college this year due to the pandemic, said, “I’m finding that a lot of mental fatigue and anxieties have left me unable to do a lot of the things I’d like to do.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But on social media, her homebound isolation is customized to evoke a sense of escape, where you’ll find old annotated books, freshly cut strawberries and vintage dresses.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Escapist+Land+Of+%27Cottagecore%2C%27+From+Marie+Antoinette+To+Taylor+Swift&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13884673/the-escapist-land-of-cottagecore-from-taylor-swift-to-marie-antoinette",
"authors": [
"byline_arts_13884673"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_2305",
"arts_3026",
"arts_2391"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13884674",
"label": "arts_137"
},
"arts_13883873": {
"type": "posts",
"id": "arts_13883873",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13883873",
"score": null,
"sort": [
1595619295000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1595619295,
"format": "standard",
"title": "Taylor Swift's Isolation Album 'Folklore' Stretches Beyond Her Usual Boundaries",
"headTitle": "Taylor Swift’s Isolation Album ‘Folklore’ Stretches Beyond Her Usual Boundaries | KQED",
"content": "\u003cp>No, \u003ca href=\"https://www.npr.org/artists/120581188/taylor-swift\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Swift\u003c/a> did not spend her quarantine nurturing her sourdough starter or tie-dying old sweaters. Nor did she use the period to \u003ca href=\"https://www.npr.org/2019/08/22/753393630/look-what-they-made-her-do-taylor-swift-to-re-record-her-catalog\" target=\"_blank\" rel=\"noopener noreferrer\">re-record her catalog\u003c/a> as promised last year after a label dispute. Instead Swift quietly spent \u003ca href=\"https://twitter.com/taylorswift13/status/1258448468907081728\" target=\"_blank\" rel=\"noopener noreferrer\">self-isolation\u003c/a> \u003ca href=\"https://twitter.com/taylorswift13/status/1254880164447760385\" target=\"_blank\" rel=\"noopener noreferrer\">at work\u003c/a> on a new album, \u003cem>Folklore\u003c/em>, released at midnight on July 24.\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/2fenSS68JI1h4Fo296JfGr\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/taylorswift13/status/1286270136006184960\" target=\"_blank\" rel=\"noopener noreferrer\">Announced\u003c/a> with just 16 hours notice, Swift’s eighth studio album finds her again collaborating on a handful of tracks with \u003ca href=\"https://www.npr.org/2017/09/12/549142219/bleachers-tiny-desk-concert\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Antonoff\u003c/a>, who she called, in a social media post \u003ca href=\"https://twitter.com/taylorswift13/status/1286270136006184960\" target=\"_blank\" rel=\"noopener noreferrer\">announcing the album’s existence\u003c/a> yesterday, “basically musical family at this point.” But her main collaborator across the album is a new one: Aaron Dessner of \u003ca href=\"https://www.npr.org/artists/15161426/the-national\" target=\"_blank\" rel=\"noopener noreferrer\">The National\u003c/a> co-wrote or produced 11 of its 16 tracks. \u003cem>Folklore\u003c/em> also features a track with \u003ca href=\"https://www.npr.org/artists/18073513/bon-iver\" target=\"_blank\" rel=\"noopener noreferrer\">Bon Iver\u003c/a>, plus orchestration from a cohort of frequent Dessner collaborators, including brother Bryce Dessner and bandmate Bryan Devendorf, along with \u003ca href=\"https://www.npr.org/2020/03/02/811298534/bonny-light-horseman-makes-new-folk-music-inspired-by-the-spirit-of-old-folk\" target=\"_blank\" rel=\"noopener noreferrer\">Josh Kaufman\u003c/a>, \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2012/02/15/146948792/ymusic-joyful-virtuosity-for-spinning-on-air\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Moose\u003c/a>, \u003ca href=\"https://www.npr.org/artists/597087913/clarice-jensen\" target=\"_blank\" rel=\"noopener noreferrer\">Clarice Jensen\u003c/a> and \u003ca href=\"https://www.npr.org/artists/16109579/doveman\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Bartlett\u003c/a>, among others. (Can we expect an appearance from Swift at \u003ca href=\"https://eauxclaires.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eaux Claires\u003c/a> or \u003ca href=\"https://www.facebook.com/havenkbh/\" target=\"_blank\" rel=\"noopener noreferrer\">HAVEN\u003c/a> someday?)\u003c/p>\n\u003cp>\u003cem>Folklore\u003c/em> applies Swift’s signature lyrical style—richly and carefully detailed, rife with knowing callbacks—to a new palette informed by Dessner’s work. Skittering instrumentation proves a match for Swift’s use of \u003ca href=\"https://www.npr.org/sections/therecord/2017/11/10/562360434/the-old-taylors-not-dead\" target=\"_blank\" rel=\"noopener noreferrer\">speak-song cadence\u003c/a>; meditative piano and horns offer a cinematic soundscape for explorations of character that move beyond autobiography. Much of Swift’s catalog has been scrutinized by listeners looking for parallels between lyrical melodrama and real-life events—looking for clues in tossed off mentions of scarves and necklaces. \u003cem>Folklore\u003c/em> features songs that explore points of view that seem to diverge from Swift’s life, including third-person narratives. \u003cem>Folklore\u003c/em> explores a more restrained type of Swiftian expression that’s no less exciting than her massive pop singles. She’s synthesizing influences (is \u003ca href=\"https://en.wikipedia.org/wiki/Boxer_(The_National_album)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Boxer\u003c/em>\u003c/a> the “indie record” of \u003ca href=\"https://www.youtube.com/watch?v=WA4iX5D9Z64\" target=\"_blank\" rel=\"noopener noreferrer\">“We Are Never Getting Back Together”\u003c/a> fame?) that she’s cited over the years, even if they hadn’t been clear in her discography up to this point.\u003c/p>\n\u003cp>Though Swift skipped her typical \u003ca href=\"https://www.npr.org/2019/04/26/717346125/watch-taylor-swifts-video-for-me-featuring-brendon-urie\" target=\"_blank\" rel=\"noopener noreferrer\">pre-album fanfare\u003c/a> ahead of \u003cem>Folklore\u003c/em>, sleuthing fans quickly identified a few \u003ca href=\"https://www.npr.org/2020/02/27/809983814/taylor-swift-man\" target=\"_blank\" rel=\"noopener noreferrer\">Easter eggs\u003c/a> in the short time between the album’s announcement and its release. William Bowery, who is credited with co-writing two tracks, doesn’t appear to have credits that predate this work, prompting some to speculate that it’s a pseudonym. It wouldn’t be the first case of secret identity in her work: Swift used the name Nils Sjöberg for her work on Calvin Harris’ 2016 song “This Is What You Came For.” Swifties also speculated this spring when the artist \u003ca href=\"https://twitter.com/taylorswift13/status/1264740730771300359\" target=\"_blank\" rel=\"noopener noreferrer\">praised a cover\u003c/a> of “Look What You Made Me Do” featured on \u003cem>Killing Eve \u003c/em>attributed to Jack Leopards & The Dolphin Club, widely assumed to be Swift’s brother Austin.\u003c/p>\n\u003cp>Swift has never gone longer than a few years without releasing a new album, but the brief 11-month gap between \u003cem>Lover\u003c/em> and \u003cem>Folklore\u003c/em>—with no real tour between—is unprecedented in her career. In a statement, Swift explained, “Most of the things I had planned this summer didn’t end up happening.” Earlier this year, Swift announced that she’d be \u003ca href=\"https://twitter.com/taylorswift13/status/1251193743912456192\" target=\"_blank\" rel=\"noopener noreferrer\">rescheduling her Lover Fest shows\u003c/a> in Foxborough, Mass., and Inglewood, Calif., due to the global pandemic. She was also slated to headline the \u003ca href=\"https://www.theguardian.com/music/2020/jun/25/michael-eavis-glastonbury-will-go-bankrupt-if-it-cant-be-staged-in-2021-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">2020 Glastonbury Festival\u003c/a> for what would have been the event’s 50th anniversary before the festival was cancelled in mid-March.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Before this year I probably would’ve overthought when to release this music at the ‘perfect’ time,” Swift wrote in her message announcing the album. “But the times we’re living in keep reminding me that nothing is guaranteed. My gut is telling me that if you make something you love, you should just put it out into the world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Stream+Taylor+Swift%27s+New+Album%2C+%27Folklore%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 689,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705020377,
"excerpt": "Swift's eighth studio album, recorded in isolation, features collaborations with members of The National and Bon Iver.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Swift's eighth studio album, recorded in isolation, features collaborations with members of The National and Bon Iver.",
"title": "Taylor Swift's Isolation Album 'Folklore' Stretches Beyond Her Usual Boundaries | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Taylor Swift's Isolation Album 'Folklore' Stretches Beyond Her Usual Boundaries",
"datePublished": "2020-07-24T12:34:55-07:00",
"dateModified": "2024-01-11T16:46:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "taylor-swifts-isolation-album-folklore-stretches-beyond-her-usual-boundaries",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=894861412&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Fri, 24 Jul 2020 00:08:29 -0400",
"nprLastModifiedDate": "Fri, 24 Jul 2020 06:41:11 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/07/24/894861412/stream-taylor-swift-new-album-folklore?ft=nprml&f=894861412",
"nprImageAgency": "Courtesy of the artist",
"nprStoryId": "894861412",
"nprByline": "Lyndsey McKenna",
"sticky": false,
"nprImageCredit": "Beth Garrabrant",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 24 Jul 2020 06:41:00 -0400",
"path": "/arts/13883873/taylor-swifts-isolation-album-folklore-stretches-beyond-her-usual-boundaries",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No, \u003ca href=\"https://www.npr.org/artists/120581188/taylor-swift\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Swift\u003c/a> did not spend her quarantine nurturing her sourdough starter or tie-dying old sweaters. Nor did she use the period to \u003ca href=\"https://www.npr.org/2019/08/22/753393630/look-what-they-made-her-do-taylor-swift-to-re-record-her-catalog\" target=\"_blank\" rel=\"noopener noreferrer\">re-record her catalog\u003c/a> as promised last year after a label dispute. Instead Swift quietly spent \u003ca href=\"https://twitter.com/taylorswift13/status/1258448468907081728\" target=\"_blank\" rel=\"noopener noreferrer\">self-isolation\u003c/a> \u003ca href=\"https://twitter.com/taylorswift13/status/1254880164447760385\" target=\"_blank\" rel=\"noopener noreferrer\">at work\u003c/a> on a new album, \u003cem>Folklore\u003c/em>, released at midnight on July 24.\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/2fenSS68JI1h4Fo296JfGr\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/taylorswift13/status/1286270136006184960\" target=\"_blank\" rel=\"noopener noreferrer\">Announced\u003c/a> with just 16 hours notice, Swift’s eighth studio album finds her again collaborating on a handful of tracks with \u003ca href=\"https://www.npr.org/2017/09/12/549142219/bleachers-tiny-desk-concert\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Antonoff\u003c/a>, who she called, in a social media post \u003ca href=\"https://twitter.com/taylorswift13/status/1286270136006184960\" target=\"_blank\" rel=\"noopener noreferrer\">announcing the album’s existence\u003c/a> yesterday, “basically musical family at this point.” But her main collaborator across the album is a new one: Aaron Dessner of \u003ca href=\"https://www.npr.org/artists/15161426/the-national\" target=\"_blank\" rel=\"noopener noreferrer\">The National\u003c/a> co-wrote or produced 11 of its 16 tracks. \u003cem>Folklore\u003c/em> also features a track with \u003ca href=\"https://www.npr.org/artists/18073513/bon-iver\" target=\"_blank\" rel=\"noopener noreferrer\">Bon Iver\u003c/a>, plus orchestration from a cohort of frequent Dessner collaborators, including brother Bryce Dessner and bandmate Bryan Devendorf, along with \u003ca href=\"https://www.npr.org/2020/03/02/811298534/bonny-light-horseman-makes-new-folk-music-inspired-by-the-spirit-of-old-folk\" target=\"_blank\" rel=\"noopener noreferrer\">Josh Kaufman\u003c/a>, \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2012/02/15/146948792/ymusic-joyful-virtuosity-for-spinning-on-air\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Moose\u003c/a>, \u003ca href=\"https://www.npr.org/artists/597087913/clarice-jensen\" target=\"_blank\" rel=\"noopener noreferrer\">Clarice Jensen\u003c/a> and \u003ca href=\"https://www.npr.org/artists/16109579/doveman\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Bartlett\u003c/a>, among others. (Can we expect an appearance from Swift at \u003ca href=\"https://eauxclaires.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eaux Claires\u003c/a> or \u003ca href=\"https://www.facebook.com/havenkbh/\" target=\"_blank\" rel=\"noopener noreferrer\">HAVEN\u003c/a> someday?)\u003c/p>\n\u003cp>\u003cem>Folklore\u003c/em> applies Swift’s signature lyrical style—richly and carefully detailed, rife with knowing callbacks—to a new palette informed by Dessner’s work. Skittering instrumentation proves a match for Swift’s use of \u003ca href=\"https://www.npr.org/sections/therecord/2017/11/10/562360434/the-old-taylors-not-dead\" target=\"_blank\" rel=\"noopener noreferrer\">speak-song cadence\u003c/a>; meditative piano and horns offer a cinematic soundscape for explorations of character that move beyond autobiography. Much of Swift’s catalog has been scrutinized by listeners looking for parallels between lyrical melodrama and real-life events—looking for clues in tossed off mentions of scarves and necklaces. \u003cem>Folklore\u003c/em> features songs that explore points of view that seem to diverge from Swift’s life, including third-person narratives. \u003cem>Folklore\u003c/em> explores a more restrained type of Swiftian expression that’s no less exciting than her massive pop singles. She’s synthesizing influences (is \u003ca href=\"https://en.wikipedia.org/wiki/Boxer_(The_National_album)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Boxer\u003c/em>\u003c/a> the “indie record” of \u003ca href=\"https://www.youtube.com/watch?v=WA4iX5D9Z64\" target=\"_blank\" rel=\"noopener noreferrer\">“We Are Never Getting Back Together”\u003c/a> fame?) that she’s cited over the years, even if they hadn’t been clear in her discography up to this point.\u003c/p>\n\u003cp>Though Swift skipped her typical \u003ca href=\"https://www.npr.org/2019/04/26/717346125/watch-taylor-swifts-video-for-me-featuring-brendon-urie\" target=\"_blank\" rel=\"noopener noreferrer\">pre-album fanfare\u003c/a> ahead of \u003cem>Folklore\u003c/em>, sleuthing fans quickly identified a few \u003ca href=\"https://www.npr.org/2020/02/27/809983814/taylor-swift-man\" target=\"_blank\" rel=\"noopener noreferrer\">Easter eggs\u003c/a> in the short time between the album’s announcement and its release. William Bowery, who is credited with co-writing two tracks, doesn’t appear to have credits that predate this work, prompting some to speculate that it’s a pseudonym. It wouldn’t be the first case of secret identity in her work: Swift used the name Nils Sjöberg for her work on Calvin Harris’ 2016 song “This Is What You Came For.” Swifties also speculated this spring when the artist \u003ca href=\"https://twitter.com/taylorswift13/status/1264740730771300359\" target=\"_blank\" rel=\"noopener noreferrer\">praised a cover\u003c/a> of “Look What You Made Me Do” featured on \u003cem>Killing Eve \u003c/em>attributed to Jack Leopards & The Dolphin Club, widely assumed to be Swift’s brother Austin.\u003c/p>\n\u003cp>Swift has never gone longer than a few years without releasing a new album, but the brief 11-month gap between \u003cem>Lover\u003c/em> and \u003cem>Folklore\u003c/em>—with no real tour between—is unprecedented in her career. In a statement, Swift explained, “Most of the things I had planned this summer didn’t end up happening.” Earlier this year, Swift announced that she’d be \u003ca href=\"https://twitter.com/taylorswift13/status/1251193743912456192\" target=\"_blank\" rel=\"noopener noreferrer\">rescheduling her Lover Fest shows\u003c/a> in Foxborough, Mass., and Inglewood, Calif., due to the global pandemic. She was also slated to headline the \u003ca href=\"https://www.theguardian.com/music/2020/jun/25/michael-eavis-glastonbury-will-go-bankrupt-if-it-cant-be-staged-in-2021-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">2020 Glastonbury Festival\u003c/a> for what would have been the event’s 50th anniversary before the festival was cancelled in mid-March.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Before this year I probably would’ve overthought when to release this music at the ‘perfect’ time,” Swift wrote in her message announcing the album. “But the times we’re living in keep reminding me that nothing is guaranteed. My gut is telling me that if you make something you love, you should just put it out into the world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Stream+Taylor+Swift%27s+New+Album%2C+%27Folklore%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13883873/taylor-swifts-isolation-album-folklore-stretches-beyond-her-usual-boundaries",
"authors": [
"byline_arts_13883873"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_21788",
"arts_3026"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13883888",
"label": "arts_137"
},
"arts_13883290": {
"type": "posts",
"id": "arts_13883290",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13883290",
"score": null,
"sort": [
1594755983000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1594755983,
"format": "standard",
"title": "Care Home Residents Brilliantly Re-Create Iconic Album Covers on Twitter",
"headTitle": "Care Home Residents Brilliantly Re-Create Iconic Album Covers on Twitter | KQED",
"content": "\u003cp>Residents at the Sydmar Lodge Care Home in Edgeware, England, have been in lockdown for four months.\u003c/p>\n\u003cp>As activities manager at the home, Robert Speker wanted to keep spirits up while visitors and outside entertainment aren’t permitted.\u003c/p>\n\u003cp>Thus, a brilliant project was born: re-creating classic album covers with residents cast as the rock stars.\u003c/p>\n\u003cp>Speker \u003ca href=\"https://twitter.com/robertspeker/status/1281627807546839042\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted \u003c/a>side-by-side photos of the original covers and the Sydmar Lodge residents’ new takes, and the tweets quickly took off.\u003c/p>\n\u003cp>https://twitter.com/robertspeker/status/1281627747136274432\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead of British singer Adele, meet 93-year-old Vera.\u003c/p>\n\u003cp>Riffing on Springsteen’s famous \u003cem>Born In The U.S.A.\u003c/em>, there’s a blue-jeaned Martin Steinberg in front of the English flag.\u003c/p>\n\u003cp>Could anyone improve upon David Bowie’s iconic lightning-bolt painted face? Roma Cohen appears to be an icon herself with the lightning bolt highlighted by her white hair.\u003c/p>\n\u003cp>https://twitter.com/robertspeker/status/1281627807546839042?s=20\u003c/p>\n\u003cp>There’s Toba David as Michael Jackson, tough in a leather jacket.\u003c/p>\n\u003cp>And Sheila Solomon as a Sydmar Lodge punk, reinventing The Clash’s guitar-smashing with a walking cane ready to come crashing down.\u003c/p>\n\u003cp>Staffers got in on the project, too, with four carers lit from below looking every bit as moody as Queen.\u003c/p>\n\u003cp>“I made the suggestions of which albums and which resident best suited the look, or had a vague similarity to the artist,” Speker \u003ca href=\"https://twitter.com/robertspeker/status/1282455570944069636\" target=\"_blank\" rel=\"noopener noreferrer\">explained\u003c/a> on Twitter. “Then I proposed the idea to each resident. Gladly all of them were enthused and perhaps a bit bemused by the idea, but happy to participate.”\u003c/p>\n\u003cp>He says he did the residents’ makeup, drew their tattoos, and did the photography and editing. A care home manager helped with hair and makeup touch-ups.\u003c/p>\n\u003cp>Speker, who began working at Sydmar Lodge in 2015, has won accolades for his inventiveness before. “Robert continues to astound us with his creative, and somewhat ‘out of the box’ ideas,” Sydmar Lodge Manager Julie Davey testifies on the home’s website.\u003c/p>\n\u003cp>Noting that Speker had won an activities coordinator award, Sydmar Lodge \u003ca href=\"https://www.sydmarlodge.co.uk/\" target=\"_blank\" rel=\"noopener noreferrer\">notes\u003c/a> that he “performs his activities with creativeness, ingenuity, individuality and originality” and recently took a resident swimming for the first time in 20 years.\u003c/p>\n\u003cp>These have been bleak times at some care homes in the U.K. Among residents at nursing homes in England and Wales from Dec. 28, 2019, to June 12, 2020, there were \u003ca href=\"https://www.ons.gov.uk/peoplepopulationandcommunity/birthsdeathsandmarriages/deaths/articles/deathsinvolvingcovid19inthecaresectorenglandandwales/deathsoccurringupto12june2020andregisteredupto20june2020provisional\" target=\"_blank\" rel=\"noopener noreferrer\">nearly 30,000\u003c/a> more deaths than during the same period last year.\u003c/p>\n\u003cp>“As this situation is on-going it could be months before the situation changes for them and the need to keep them happy entertained and full of spirit has never been more crucial,” Speker wrote on \u003ca href=\"https://www.gofundme.com/f/8rz5n-the-show-must-go-on\" target=\"_blank\" rel=\"noopener noreferrer\">a GoFundMe page\u003c/a> he created to support the care home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Elderly people will remain in lockdown for a long time,” he wrote, “and I want to make their time as happy and full of enjoyment and interest as possible.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+U.K.+Care+Home%2C+Residents+Brilliantly+Re-Create+Iconic+Album+Covers+On+Twitter&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 522,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705020436,
"excerpt": "The activities manager cast residents as rock stars to keep spirits up while visitors and outside entertainment are banned.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The activities manager cast residents as rock stars to keep spirits up while visitors and outside entertainment are banned.",
"title": "Care Home Residents Brilliantly Re-Create Iconic Album Covers on Twitter | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Care Home Residents Brilliantly Re-Create Iconic Album Covers on Twitter",
"datePublished": "2020-07-14T12:46:23-07:00",
"dateModified": "2024-01-11T16:47:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "care-home-residents-brilliantly-re-create-iconic-album-covers-on-twitter",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=890569181&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 13 Jul 2020 16:56:21 -0400",
"nprLastModifiedDate": "Tue, 14 Jul 2020 08:42:05 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/sections/coronavirus-live-updates/2020/07/13/890569181/at-u-k-care-home-residents-brilliantly-recreate-iconic-album-covers?ft=nprml&f=890569181",
"nprImageAgency": "Robert Speker on Twitter",
"nprStoryId": "890569181",
"nprByline": "Laurel Wamsley",
"sticky": false,
"nprImageCredit": "Screengrab by NPR",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 14 Jul 2020 08:42:00 -0400",
"path": "/arts/13883290/care-home-residents-brilliantly-re-create-iconic-album-covers-on-twitter",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Residents at the Sydmar Lodge Care Home in Edgeware, England, have been in lockdown for four months.\u003c/p>\n\u003cp>As activities manager at the home, Robert Speker wanted to keep spirits up while visitors and outside entertainment aren’t permitted.\u003c/p>\n\u003cp>Thus, a brilliant project was born: re-creating classic album covers with residents cast as the rock stars.\u003c/p>\n\u003cp>Speker \u003ca href=\"https://twitter.com/robertspeker/status/1281627807546839042\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted \u003c/a>side-by-side photos of the original covers and the Sydmar Lodge residents’ new takes, and the tweets quickly took off.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1281627747136274432"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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>Instead of British singer Adele, meet 93-year-old Vera.\u003c/p>\n\u003cp>Riffing on Springsteen’s famous \u003cem>Born In The U.S.A.\u003c/em>, there’s a blue-jeaned Martin Steinberg in front of the English flag.\u003c/p>\n\u003cp>Could anyone improve upon David Bowie’s iconic lightning-bolt painted face? Roma Cohen appears to be an icon herself with the lightning bolt highlighted by her white hair.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1281627807546839042"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There’s Toba David as Michael Jackson, tough in a leather jacket.\u003c/p>\n\u003cp>And Sheila Solomon as a Sydmar Lodge punk, reinventing The Clash’s guitar-smashing with a walking cane ready to come crashing down.\u003c/p>\n\u003cp>Staffers got in on the project, too, with four carers lit from below looking every bit as moody as Queen.\u003c/p>\n\u003cp>“I made the suggestions of which albums and which resident best suited the look, or had a vague similarity to the artist,” Speker \u003ca href=\"https://twitter.com/robertspeker/status/1282455570944069636\" target=\"_blank\" rel=\"noopener noreferrer\">explained\u003c/a> on Twitter. “Then I proposed the idea to each resident. Gladly all of them were enthused and perhaps a bit bemused by the idea, but happy to participate.”\u003c/p>\n\u003cp>He says he did the residents’ makeup, drew their tattoos, and did the photography and editing. A care home manager helped with hair and makeup touch-ups.\u003c/p>\n\u003cp>Speker, who began working at Sydmar Lodge in 2015, has won accolades for his inventiveness before. “Robert continues to astound us with his creative, and somewhat ‘out of the box’ ideas,” Sydmar Lodge Manager Julie Davey testifies on the home’s website.\u003c/p>\n\u003cp>Noting that Speker had won an activities coordinator award, Sydmar Lodge \u003ca href=\"https://www.sydmarlodge.co.uk/\" target=\"_blank\" rel=\"noopener noreferrer\">notes\u003c/a> that he “performs his activities with creativeness, ingenuity, individuality and originality” and recently took a resident swimming for the first time in 20 years.\u003c/p>\n\u003cp>These have been bleak times at some care homes in the U.K. Among residents at nursing homes in England and Wales from Dec. 28, 2019, to June 12, 2020, there were \u003ca href=\"https://www.ons.gov.uk/peoplepopulationandcommunity/birthsdeathsandmarriages/deaths/articles/deathsinvolvingcovid19inthecaresectorenglandandwales/deathsoccurringupto12june2020andregisteredupto20june2020provisional\" target=\"_blank\" rel=\"noopener noreferrer\">nearly 30,000\u003c/a> more deaths than during the same period last year.\u003c/p>\n\u003cp>“As this situation is on-going it could be months before the situation changes for them and the need to keep them happy entertained and full of spirit has never been more crucial,” Speker wrote on \u003ca href=\"https://www.gofundme.com/f/8rz5n-the-show-must-go-on\" target=\"_blank\" rel=\"noopener noreferrer\">a GoFundMe page\u003c/a> he created to support the care home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Elderly people will remain in lockdown for a long time,” he wrote, “and I want to make their time as happy and full of enjoyment and interest as possible.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+U.K.+Care+Home%2C+Residents+Brilliantly+Re-Create+Iconic+Album+Covers+On+Twitter&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13883290/care-home-residents-brilliantly-re-create-iconic-album-covers-on-twitter",
"authors": [
"byline_arts_13883290"
],
"categories": [
"arts_1",
"arts_75"
],
"tags": [
"arts_10126",
"arts_7534",
"arts_10127",
"arts_1341",
"arts_8572",
"arts_4919",
"arts_913",
"arts_905",
"arts_10416",
"arts_3026",
"arts_2391",
"arts_1553"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13883291",
"label": "arts_137"
},
"arts_13874070": {
"type": "posts",
"id": "arts_13874070",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13874070",
"score": null,
"sort": [
1580490867000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1580490867,
"format": "standard",
"title": "In New Documentary 'Miss Americana,' Taylor Swift Shows Girls How to Break Free",
"headTitle": "In New Documentary ‘Miss Americana,’ Taylor Swift Shows Girls How to Break Free | KQED",
"content": "\u003cp>\u003cem>Miss Americana\u003c/em>, the Taylor Swift documentary that premieres on Netflix today, is, on the face of it, about a child star growing up in the public eye and finally finding a voice for herself beyond the world of music. At its heart, though, \u003cem>Miss Americana\u003c/em> is really a film about young women, double standards and the damage wrought by old-fashioned gender roles.\u003c/p>\n\u003cp>You might not notice it at first, if only because of the surreality that accompanies Swift’s level of mega-stardom. We see her coping with fame-related isolation, fear, and bruises to her ego. We also witness her getting dragged into strangers’ marriage proposals, being bullied by Fox News anchors, and casually talking about strangers breaking into her home.\u003c/p>\n\u003cp>But the truth of the matter is that many of the problems Swift faces over the course of the documentary aren’t related to the trappings of fame; they’re related to simply being born female. Swift may deal with these issues on a massively magnified scale because of her particular situation, but many of her struggles are supremely relatable to women across America—especially young women.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=40RsbcFRwNA\u003c/p>\n\u003cp>We see Swift coping with slut-shaming, cyber-bullying and imposter syndrome—all common problems for young people in the age of the internet. “When you are living for the approval of strangers,” she notes at one point, “and that is where you derive all of your joy and fulfillment, one bad thing can cause everything to crumble.” She’s talking about record and ticket sales and award nominations, but the predicament is the same for every aspiring internet influencer in the country. Hell, \u003cem>all\u003c/em> teens are beholden to “likes” these days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That Swift talks in depth about picking a female archetype in childhood (“the main thing that I always tried to be was just, like, a good girl”), and clinging to it desperately as a means of survival is perhaps the most relatable thing of all. The idea that the world can be separated into good girls and bad girls is both ancient and persistent. (To this day, it’s how women are most commonly pitted against one other.) In \u003cem>Miss Americana\u003c/em> we can see, via Swift’s example, how that dichotomy is used almost exclusively as a means to control women.\u003c/p>\n\u003cp>We see the abject fear built into her over time that being anything less than an agreeable, nice girl will be the end of her. We see her struggling to figure out how to have a voice and still somehow follow the rules. (“A nice girl doesn’t force their opinions on people; a nice girl smiles and waves and says thank you; a nice girl doesn’t make people feel uncomfortable with her views.”) And then, remarkably, we see her realize how those things kept her silent after \u003ca href=\"https://www.bbc.com/news/entertainment-arts-40937429\" target=\"_blank\" rel=\"noopener noreferrer\">she was sexually assaulted\u003c/a>. We see her wake up to the long con, and it is powerful.\u003c/p>\n\u003cp>In a similar vein, confessing to her own struggle with disordered eating, Swift realizes: “There’s always some standard of beauty that you’re not meeting. Because if you’re thin enough, you don’t have that ass that everybody wants. But if you’re eating enough to allow you to have an ass, then your stomach isn’t flat enough. It’s all just \u003cem>f-cking impossible.\u003c/em>”\u003c/p>\n\u003cp>By the end of \u003cem>Miss Americana\u003c/em>, Swift is calling bullshit on many of the things she once used to hold herself up. She admits she’s “trying to deprogram the misogyny in [her] own brain,” sitting with the revelation that: “There is no such thing as a slut, there is no such thing as a bitch, there is no such thing as someone who’s bossy—there’s just a boss. We don’t want to be condemned for being multi-faceted.”\u003c/p>\n\u003cp>Remove the fact that \u003cem>Miss Americana\u003c/em> happens to be about one of the most famous women on Earth, and this is a story that generations of women can relate to. Especially those that, like Swift, bought into an idea of femininity that meant being kind and agreeable at all costs; a world in which women should never rock the boat, even if it’s directly in front of them with a predator sitting in it.\u003c/p>\n\u003cp>In a \u003cem>New York Times\u003c/em> piece, \u003cem>Many Ways to Be a Girl, But One Way to Be a Boy: The New Gender Rules\u003c/em>, \u003ca href=\"https://www.nytimes.com/2018/11/14/learning/gender-norms-pressure.html\" target=\"_blank\" rel=\"noopener noreferrer\">Claire Cain Miller writes\u003c/a> that “About three-quarters of girls 14 to 19 in the survey said they felt judged as a sexual object or unsafe as a girl. By far, they said society considered physical attractiveness to be the most important female trait—a view that adult women share, surveys have found. Girls were also more likely than boys to say they felt a lot of pressure to put others’ feelings before their own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Swift tells the film’s audience, “I feel really good about not being muzzled anymore—and it was my own doing,” she’s not just offering up a new, outspoken version of herself to the world. She’s telling other young women that it’s okay to do the same thing.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 924,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705021382,
"excerpt": "Swift's struggles—with beauty standards, isolation, bullying and more—are relatable to every young woman in the world.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Swift's struggles—with beauty standards, isolation, bullying and more—are relatable to every young woman in the world.",
"title": "In New Documentary 'Miss Americana,' Taylor Swift Shows Girls How to Break Free | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In New Documentary 'Miss Americana,' Taylor Swift Shows Girls How to Break Free",
"datePublished": "2020-01-31T09:14:27-08:00",
"dateModified": "2024-01-11T17:03:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13874070/in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Miss Americana\u003c/em>, the Taylor Swift documentary that premieres on Netflix today, is, on the face of it, about a child star growing up in the public eye and finally finding a voice for herself beyond the world of music. At its heart, though, \u003cem>Miss Americana\u003c/em> is really a film about young women, double standards and the damage wrought by old-fashioned gender roles.\u003c/p>\n\u003cp>You might not notice it at first, if only because of the surreality that accompanies Swift’s level of mega-stardom. We see her coping with fame-related isolation, fear, and bruises to her ego. We also witness her getting dragged into strangers’ marriage proposals, being bullied by Fox News anchors, and casually talking about strangers breaking into her home.\u003c/p>\n\u003cp>But the truth of the matter is that many of the problems Swift faces over the course of the documentary aren’t related to the trappings of fame; they’re related to simply being born female. Swift may deal with these issues on a massively magnified scale because of her particular situation, but many of her struggles are supremely relatable to women across America—especially young women.\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/40RsbcFRwNA'\n title='//www.youtube.com/embed/40RsbcFRwNA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We see Swift coping with slut-shaming, cyber-bullying and imposter syndrome—all common problems for young people in the age of the internet. “When you are living for the approval of strangers,” she notes at one point, “and that is where you derive all of your joy and fulfillment, one bad thing can cause everything to crumble.” She’s talking about record and ticket sales and award nominations, but the predicament is the same for every aspiring internet influencer in the country. Hell, \u003cem>all\u003c/em> teens are beholden to “likes” these days.\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>That Swift talks in depth about picking a female archetype in childhood (“the main thing that I always tried to be was just, like, a good girl”), and clinging to it desperately as a means of survival is perhaps the most relatable thing of all. The idea that the world can be separated into good girls and bad girls is both ancient and persistent. (To this day, it’s how women are most commonly pitted against one other.) In \u003cem>Miss Americana\u003c/em> we can see, via Swift’s example, how that dichotomy is used almost exclusively as a means to control women.\u003c/p>\n\u003cp>We see the abject fear built into her over time that being anything less than an agreeable, nice girl will be the end of her. We see her struggling to figure out how to have a voice and still somehow follow the rules. (“A nice girl doesn’t force their opinions on people; a nice girl smiles and waves and says thank you; a nice girl doesn’t make people feel uncomfortable with her views.”) And then, remarkably, we see her realize how those things kept her silent after \u003ca href=\"https://www.bbc.com/news/entertainment-arts-40937429\" target=\"_blank\" rel=\"noopener noreferrer\">she was sexually assaulted\u003c/a>. We see her wake up to the long con, and it is powerful.\u003c/p>\n\u003cp>In a similar vein, confessing to her own struggle with disordered eating, Swift realizes: “There’s always some standard of beauty that you’re not meeting. Because if you’re thin enough, you don’t have that ass that everybody wants. But if you’re eating enough to allow you to have an ass, then your stomach isn’t flat enough. It’s all just \u003cem>f-cking impossible.\u003c/em>”\u003c/p>\n\u003cp>By the end of \u003cem>Miss Americana\u003c/em>, Swift is calling bullshit on many of the things she once used to hold herself up. She admits she’s “trying to deprogram the misogyny in [her] own brain,” sitting with the revelation that: “There is no such thing as a slut, there is no such thing as a bitch, there is no such thing as someone who’s bossy—there’s just a boss. We don’t want to be condemned for being multi-faceted.”\u003c/p>\n\u003cp>Remove the fact that \u003cem>Miss Americana\u003c/em> happens to be about one of the most famous women on Earth, and this is a story that generations of women can relate to. Especially those that, like Swift, bought into an idea of femininity that meant being kind and agreeable at all costs; a world in which women should never rock the boat, even if it’s directly in front of them with a predator sitting in it.\u003c/p>\n\u003cp>In a \u003cem>New York Times\u003c/em> piece, \u003cem>Many Ways to Be a Girl, But One Way to Be a Boy: The New Gender Rules\u003c/em>, \u003ca href=\"https://www.nytimes.com/2018/11/14/learning/gender-norms-pressure.html\" target=\"_blank\" rel=\"noopener noreferrer\">Claire Cain Miller writes\u003c/a> that “About three-quarters of girls 14 to 19 in the survey said they felt judged as a sexual object or unsafe as a girl. By far, they said society considered physical attractiveness to be the most important female trait—a view that adult women share, surveys have found. Girls were also more likely than boys to say they felt a lot of pressure to put others’ feelings before their own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Swift tells the film’s audience, “I feel really good about not being muzzled anymore—and it was my own doing,” she’s not just offering up a new, outspoken version of herself to the world. She’s telling other young women that it’s okay to do the same thing.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13874070/in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free",
"authors": [
"11242"
],
"categories": [
"arts_74",
"arts_69",
"arts_990"
],
"tags": [
"arts_13672",
"arts_1118",
"arts_1962",
"arts_3324",
"arts_2462",
"arts_3026"
],
"featImg": "arts_13874177",
"label": "arts"
},
"arts_13873277": {
"type": "posts",
"id": "arts_13873277",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13873277",
"score": null,
"sort": [
1579035779000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1579035779,
"format": "standard",
"title": "The Past Year in Music Listening: Video Rules, The Boy's Club Remains",
"headTitle": "The Past Year in Music Listening: Video Rules, The Boy’s Club Remains | KQED",
"content": "\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2318,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 40
},
"modified": 1705021503,
"excerpt": "Two reports released recently shine a light on the decade-long trends shaping our relationships to listening, from the dominance of video to the vinyl \"boom\" that isn't quite.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Two reports released recently shine a light on the decade-long trends shaping our relationships to listening, from the dominance of video to the vinyl "boom" that isn't quite.",
"title": "The Past Year in Music Listening: Video Rules, The Boy's Club Remains | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Past Year in Music Listening: Video Rules, The Boy's Club Remains",
"datePublished": "2020-01-14T13:02:59-08:00",
"dateModified": "2024-01-11T17:05:03-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-past-year-in-music-listening-video-rules-the-boys-club-remains",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=796187782&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 14 Jan 2020 09:29:22 -0500",
"nprLastModifiedDate": "Tue, 14 Jan 2020 09:43:53 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/01/14/796187782/the-past-year-and-decade-in-music-listening?ft=nprml&f=796187782",
"nprImageAgency": "Getty Images/EyeEm",
"nprStoryId": "796187782",
"nprByline": "Cherie Hu",
"sticky": false,
"nprImageCredit": "Kirsty Lee / EyeEm",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 14 Jan 2020 09:43:00 -0500",
"path": "/arts/13873277/the-past-year-in-music-listening-video-rules-the-boys-club-remains",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13873277/the-past-year-in-music-listening-video-rules-the-boys-club-remains",
"authors": [
"byline_arts_13873277"
],
"categories": [
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_7164",
"arts_6226",
"arts_6117",
"arts_9669",
"arts_831",
"arts_7108",
"arts_2968",
"arts_3026"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13873278",
"label": "arts_137"
},
"arts_13868271": {
"type": "posts",
"id": "arts_13868271",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13868271",
"score": null,
"sort": [
1571239615000
]
},
"guestAuthors": [],
"slug": "watch-taylor-swifts-npr-tiny-desk-concert",
"title": "Watch Taylor Swift's NPR Tiny Desk Concert",
"publishDate": 1571239615,
"format": "standard",
"headTitle": "Watch Taylor Swift’s NPR Tiny Desk Concert | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>As \u003ca href=\"https://www.npr.org/artists/120581188/taylor-swift\">Taylor Swift\u003c/a> settled in for her Tiny Desk, she looked out at the 300-plus NPR employees and guests. “Wow! This is a lot of people in a tiny office!” she said. “I love it!” Then, after introducing herself, she explained her objective: “I just decided to take this as an opportunity to show you guys how the songs sounded when I first wrote them.”\u003c/p>\n\u003cp>It should come as no surprise that someone who commands stadium stages could hold court in NPR Music’s corner of our Washington, D.C. office — specifically, behind Bob Boilen’s desk — but Taylor Swift was truly at home in stripped-down, solo session mode. (“It’s just me. There’s no dancers, unfortunately,” she quipped.)\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"https://www.npr.org/templates/event/embeddedVideo.php?storyId=770318649&mediaId=770323524\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Opening with an acoustic rendition of “The Man,” from her 2019 album \u003cem>Lover, \u003c/em>Swift delivered a critique of gender double-standards with a sense of humor (and a perfectly deployed hair toss), Leonardo DiCaprio name-check and all. Turning to the piano for \u003cem>Lover\u003c/em>‘s title track, with a smile, she explained the guitar-string scars of the song’s bridge. Picking up the guitar again for “Death by a Thousand Cuts,” Swift confronted a question that she says has haunted her career: What will you ever do if you get happy? Across the song’s run-on thoughts and relentless searching, Swift offered an answer: She’ll continue to excel at crafting superb story-songs.\u003c/p>\n\u003cp>Though most Tiny Desk concerts stop at three songs, we couldn’t turn down the chance to hear “All Too Well” from Swift’s 2012 album, \u003ca href=\"https://www.npr.org/2017/08/28/546359653/shocking-omissions-taylor-swift-s-red-a-canonical-coming-of-age-album\">\u003cem>Red\u003c/em>\u003c/a>. Routinely cited by critics and fans alike as a favorite, the beloved track has become the stuff of Swiftie legends, striking in its \u003ca href=\"https://www.npr.org/2019/08/26/754300347/show-and-tell-on-lover-taylor-swift-lets-listeners-in-on-her-own-terms\">specificity\u003c/a> (that scarf!) and relatable in a way that anyone who has loved and lost can understand.\u003c/p>\n\u003cp>That sense of connection is at the heart of it all. Some 800 Tiny Desk concerts since we published our very first back \u003ca href=\"https://www.npr.org/sections/allsongs/2015/02/12/385532517/all-songs-at-15-our-first-ever-tiny-desk-concert\">in April of 2008\u003c/a>, the aim remains the same: In the midst of meetings and conference calls, Tiny Desk concerts offer respite from the workday and an opportunity to see an artist reimagine their work in a strange setting. It’s always special, but on some days, it feels downright magical. Watching Taylor Swift perform – and then interact with coworkers and guests who have grown up with her – was simply enchanting.\u003c/p>\n\u003ch3>SET LIST\u003c/h3>\n\u003cul>\n\u003cli>“The Man”\u003c/li>\n\u003cli>“Lover”\u003c/li>\n\u003cli>“Death by a Thousand Cuts”\u003c/li>\n\u003cli>“All Too Well”\u003c/li>\n\u003c/ul>\n\u003ch3>MUSICIAN\u003c/h3>\n\u003cp>\u003cem>Taylor Swift: vocals, guitar, piano\u003c/em>\u003c/p>\n\u003ch3>CREDITS\u003c/h3>\n\u003cp>\u003cem>Producers: Bob Boilen, Morgan Noelle Smith; Creative Director: Bob Boilen; Audio Engineers: Josh Rogosin, Natasha Branch; Videographers: Morgan Noelle Smith, Kara Frame, Maia Stern; Associate Producer: Bobby Carter; Production Assistants: Jack Corbett, Mito Habe-Evans; Executive Producer: Lauren Onkey; Senior VP, Programming: Anya Grundmann; Photo: Bob Boilen/NPR\u003c/em> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift%3A+Tiny+Desk+Concert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Taylor Swift performs at NPR's Tiny Desk, taking the opportunity \"to show you guys how the songs sounded when I first wrote them.\"",
"status": "publish",
"parent": 0,
"modified": 1726766074,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": true,
"iframeSrcs": [
"https://www.npr.org/templates/event/embeddedVideo.php"
],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 514
},
"headData": {
"title": "Watch Taylor Swift's NPR Tiny Desk Concert | KQED",
"description": "Taylor Swift performs at NPR's Tiny Desk, taking the opportunity "to show you guys how the songs sounded when I first wrote them."",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Watch Taylor Swift's NPR Tiny Desk Concert",
"datePublished": "2019-10-16T08:26:55-07:00",
"dateModified": "2024-09-19T10:14:34-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Bob Boilen",
"nprByline": "Lyndsey McKenna",
"nprImageAgency": "NPR",
"nprStoryId": "770318649",
"nprApiLink": "http://api.npr.org/query?id=770318649&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/10/16/770318649/taylor-swift-tiny-desk-concert?ft=nprml&f=770318649",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 16 Oct 2019 09:54:00 -0400",
"nprStoryDate": "Wed, 16 Oct 2019 05:00:00 -0400",
"nprLastModifiedDate": "Wed, 16 Oct 2019 09:54:44 -0400",
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13868271/watch-taylor-swifts-npr-tiny-desk-concert",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As \u003ca href=\"https://www.npr.org/artists/120581188/taylor-swift\">Taylor Swift\u003c/a> settled in for her Tiny Desk, she looked out at the 300-plus NPR employees and guests. “Wow! This is a lot of people in a tiny office!” she said. “I love it!” Then, after introducing herself, she explained her objective: “I just decided to take this as an opportunity to show you guys how the songs sounded when I first wrote them.”\u003c/p>\n\u003cp>It should come as no surprise that someone who commands stadium stages could hold court in NPR Music’s corner of our Washington, D.C. office — specifically, behind Bob Boilen’s desk — but Taylor Swift was truly at home in stripped-down, solo session mode. (“It’s just me. There’s no dancers, unfortunately,” she quipped.)\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"https://www.npr.org/templates/event/embeddedVideo.php?storyId=770318649&mediaId=770323524\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Opening with an acoustic rendition of “The Man,” from her 2019 album \u003cem>Lover, \u003c/em>Swift delivered a critique of gender double-standards with a sense of humor (and a perfectly deployed hair toss), Leonardo DiCaprio name-check and all. Turning to the piano for \u003cem>Lover\u003c/em>‘s title track, with a smile, she explained the guitar-string scars of the song’s bridge. Picking up the guitar again for “Death by a Thousand Cuts,” Swift confronted a question that she says has haunted her career: What will you ever do if you get happy? Across the song’s run-on thoughts and relentless searching, Swift offered an answer: She’ll continue to excel at crafting superb story-songs.\u003c/p>\n\u003cp>Though most Tiny Desk concerts stop at three songs, we couldn’t turn down the chance to hear “All Too Well” from Swift’s 2012 album, \u003ca href=\"https://www.npr.org/2017/08/28/546359653/shocking-omissions-taylor-swift-s-red-a-canonical-coming-of-age-album\">\u003cem>Red\u003c/em>\u003c/a>. Routinely cited by critics and fans alike as a favorite, the beloved track has become the stuff of Swiftie legends, striking in its \u003ca href=\"https://www.npr.org/2019/08/26/754300347/show-and-tell-on-lover-taylor-swift-lets-listeners-in-on-her-own-terms\">specificity\u003c/a> (that scarf!) and relatable in a way that anyone who has loved and lost can understand.\u003c/p>\n\u003cp>That sense of connection is at the heart of it all. Some 800 Tiny Desk concerts since we published our very first back \u003ca href=\"https://www.npr.org/sections/allsongs/2015/02/12/385532517/all-songs-at-15-our-first-ever-tiny-desk-concert\">in April of 2008\u003c/a>, the aim remains the same: In the midst of meetings and conference calls, Tiny Desk concerts offer respite from the workday and an opportunity to see an artist reimagine their work in a strange setting. It’s always special, but on some days, it feels downright magical. Watching Taylor Swift perform – and then interact with coworkers and guests who have grown up with her – was simply enchanting.\u003c/p>\n\u003ch3>SET LIST\u003c/h3>\n\u003cul>\n\u003cli>“The Man”\u003c/li>\n\u003cli>“Lover”\u003c/li>\n\u003cli>“Death by a Thousand Cuts”\u003c/li>\n\u003cli>“All Too Well”\u003c/li>\n\u003c/ul>\n\u003ch3>MUSICIAN\u003c/h3>\n\u003cp>\u003cem>Taylor Swift: vocals, guitar, piano\u003c/em>\u003c/p>\n\u003ch3>CREDITS\u003c/h3>\n\u003cp>\u003cem>Producers: Bob Boilen, Morgan Noelle Smith; Creative Director: Bob Boilen; Audio Engineers: Josh Rogosin, Natasha Branch; Videographers: Morgan Noelle Smith, Kara Frame, Maia Stern; Associate Producer: Bobby Carter; Production Assistants: Jack Corbett, Mito Habe-Evans; Executive Producer: Lauren Onkey; Senior VP, Programming: Anya Grundmann; Photo: Bob Boilen/NPR\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift%3A+Tiny+Desk+Concert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13868271/watch-taylor-swifts-npr-tiny-desk-concert",
"authors": [
"byline_arts_13868271"
],
"categories": [
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_1118",
"arts_1377",
"arts_4591",
"arts_3026",
"arts_4271"
],
"featImg": "arts_13868272",
"label": "arts"
},
"arts_13864955": {
"type": "posts",
"id": "arts_13864955",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864955",
"score": null,
"sort": [
1566920838000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1566920838,
"format": "standard",
"title": "10 Things You Might As Well Know About The 2019 VMAs",
"headTitle": "10 Things You Might As Well Know About The 2019 VMAs | KQED",
"content": "\u003cp>On this early Tuesday morning, we sit facing a yawning precipice: the longest possible stretch of time in which no one is called upon to watch MTV’s Video Music Awards. Bask in the sweet, creamy silence of it all. We’ve earned it!\u003c/p>\n\u003cp>That said, it was a better-than-usual year for the stalwart awards show, which has been running since 1984 and tends to be best known for its moments of outrageousness. (Think Kanye West rushing the stage while Taylor Swift attempted to give a victory speech in 2009, or Miley Cyrus twerking alongside Robin Thicke four years later.) This year, the handing out of trophies barely registered, but a handful of performances and moments still shone through the din. Here’s a quick rundown.\u003c/p>\n\u003cp>1.\u003cstrong> Missy Elliott got her moment, and then some.\u003c/strong> The hip-hop legend won a wildly overdue Video Vanguard award — the VMAs equivalent of a Hall of Fame induction — and celebrated with a terrific medley that featured “The Rain,” “Hot Boyz,” “Get Ur Freak On,” “Work It,” “Pass That Dutch” and “Lose Control.” Elliott received a lovely bundle of testimonials from the likes of Lizzo, adulation from an ecstatic crowd and the opportunity to give a gracious speech in which she heaped praise on God, her dancers and other sources of strength.\u003c/p>\n\u003cp>https://youtu.be/i9I-ut1TXoA\u003c/p>\n\u003cp>2. \u003cstrong>Lizzo’s star turn has only begun.\u003c/strong> Though the incalculably appealing breakout star went home empty-handed, trophy-wise, her medley of “Truth Hurts” and “Good As Hell” was a huge standout for the night — a win that’ll do a lot more for her staying power than some statuette. Flanked by her marvelous team of dancers, Lizzo sang her guts out while performing in the figurative shadow of a gigantic CGI rear end, a move that was funny and raucous without crowding out her moments of poignancy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/Uo0RK_olDb4\u003c/p>\n\u003cp>\u003cstrong>3. Even more than usual, the actual awards barely qualified as an afterthought.\u003c/strong> All you need to know about the VMAs — the awards themselves — is that the prize for Artist of the Year was announced in a voiceover in passing, the way you’d quickly acknowledge the winner of, like, Best Costuming in an R&B Video by a Duo or Group. (Ariana Grande won Artist of the Year, but since she wasn’t in the room, why bother?)\u003c/p>\n\u003cp>4. Speaking of which: \u003cstrong>They offloaded Video of the Year and Song of the Year smack in the middle of the telecast.\u003c/strong> About 10 years after Kanye West infamously interrupted her VMAs speech — you know, “I’ma let you finish,” that whole thing — Taylor Swift took Video of the Year for “You Need to Calm Down,” while Lil Nas X and Billy Ray Cyrus won Song of the Year for their eternal “Old Town Road” remix. Then the show just kept rolling along for another hour and a half.\u003c/p>\n\u003cp>5.\u003cstrong> It was a big night for Taylor Swift in general.\u003c/strong> The pop star, whose new album \u003cem>Lover\u003c/em> came out Friday, opened the night with a medley of “You Need to Calm Down” and “Lover,” filling the screen with drag queens, vibrant colors and all the CGI emoji fit to print. When she won Video for Good — the VMAs’ prize honoring socially conscious messaging — Swift shrewdly let collaborator Todrick Hall give the speech. She even wound up adjacent to one of the night’s big memeable moments: presenter John Travolta \u003ca href=\"https://twitter.com/PopCraveMusic/status/1166165376436191232\">handing the Video of the Year trophy to Jade Jolie\u003c/a>, presumably thinking the \u003cem>Drag Race\u003c/em> veteran was Swift.\u003c/p>\n\u003cp>https://youtu.be/eIRCskNRTDY\u003c/p>\n\u003cp>6. \u003cstrong>Latin music got its due.\u003c/strong> Outside of, say, the Latin Grammys, Latin music tends to get short shrift in major music awards shows; it might get a medley here or there, but tends to get consigned to the margins. The 2019 VMAs understood what a creative and commercial force Latin music has become, and smartly let the music weave its way throughout the telecast as a result. Rosalía, J Balvin, Bad Bunny and Camila Cabello all performed, while Cardi B’s live-wire goofiness was a dominant presence over the course of the night.\u003c/p>\n\u003cp>https://youtu.be/qOSSmwK-PR0\u003c/p>\n\u003cp>7. \u003cstrong>Normani is next.\u003c/strong> The Fifth Harmony singer performed a grabby, impeccably choreographed re-creation of her “Motivation” video, turning heads late in a telecast that had begun to sag. It’s the year of Lil Nas X, and Billie Eilish, and Lizzo, and Megan Thee Stallion — and it’s the year of Normani, too.\u003c/p>\n\u003cp>https://youtu.be/RQJGqgq7MeE\u003c/p>\n\u003cp>8. \u003cstrong>Lil Nas X isn’t done yet.\u003c/strong> Okay, so “Old Town Road” has \u003cem>finally\u003c/em> been dethroned after a record-setting run atop the \u003cem>Billboard\u003c/em> Hot 100. But the genre-smashing, social-media-savvy star has more ideas to burn, if his sly and funny VMAs performance is any indication. The charming, lighthearted intro to his seemingly \u003cem>TRON\u003c/em>-inspired performance of “Panini” had some of the night’s biggest (only?) laughs.\u003c/p>\n\u003cp>https://youtu.be/wC53WdkG44w\u003c/p>\n\u003cp>9. \u003cstrong>Why don’t they let Joe Jonas perform onsite?\u003c/strong> In 2017, Joe Jonas’ band DNCE performed at the VMAs — sort of — by playing a set in Las Vegas that got stitched into the telecast from afar. This year, The Jonas Brothers returned to the VMAs after an 11-year absence, but were consigned to yet another stage, this time in Asbury Park, New Jersey. Is Joe Jonas not allowed within 1,000 yards of Shawn Mendes or something?\u003c/p>\n\u003cp>https://youtu.be/BjMQC_bnaNE\u003c/p>\n\u003cp>10. \u003cstrong>Wrong host, wrong time.\u003c/strong> Sebastian Maniscalco is a hugely successful comedian who sells out multi-night runs at Madison Square Garden. He’s a big name. But his opening monologue — in which he snidely mocked trigger warnings and safe spaces and participation trophies and whatnot — felt like the sort of tired, these-kids-nowadays diatribe you’d expect from your least favorite uncle. It’s not that the bit was too edgy, or somehow hurtful, but that it was thuddingly predictable and utterly \u003cem>played out\u003c/em>. The night quickly bloomed into a world-straddling three-hour pansexual fantasia of self-love and acceptance, which only made it clearer how out of his element Maniscalco was. He needed a safe space of his own.\u003c/p>\n\u003cp>https://youtu.be/LBxTDp6Cpyg\u003c/p>\n\u003cp>\u003cstrong>2019 MTV MUSIC VIDEO AWARDS: THE WINNERS\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>MICHAEL JACKSON VIDEO VANGUARD AWARD\u003c/strong>\u003cbr>\nMissy Elliott\u003c/p>\n\u003cp>\u003cstrong>VIDEO OF THE YEAR\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nAriana Grande\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE YEAR\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix)”\u003c/p>\n\u003cp>\u003cstrong>BEST NEW ARTIST\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST COLLABORATION\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita”\u003c/p>\n\u003cp>\u003cstrong>PUSH ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST POP\u003c/strong>\u003cbr>\nJonas Brothers, “Sucker”\u003c/p>\n\u003cp>\u003cstrong>BEST HIP-HOP\u003c/strong>\u003cbr>\nCardi B, “Money”\u003c/p>\n\u003cp>\u003cstrong>BEST R&B\u003c/strong>\u003cbr>\nNormani ft. 6lack, “Waves”\u003c/p>\n\u003cp>\u003cstrong>BEST K-POP\u003c/strong>\u003cbr>\nBTS ft. Halsey, “Boy With Luv”\u003c/p>\n\u003cp>\u003cstrong>BEST LATIN\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura”\u003c/p>\n\u003cp>\u003cstrong>BEST DANCE\u003c/strong>\u003cbr>\nThe Chainsmokers, Bebe Rexha, “Call You Mine”\u003c/p>\n\u003cp>\u003cstrong>BEST ROCK\u003c/strong>\u003cbr>\nPanic! At The Disco, “High Hopes”\u003c/p>\n\u003cp>\u003cstrong>VIDEO FOR GOOD\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>BEST DIRECTION\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix),” directed by Calmatic\u003c/p>\n\u003cp>\u003cstrong>BEST VISUAL EFFECTS\u003c/strong>\u003cbr>\nTaylor Swift ft. Brendon Urie, “ME!,” visual effects by Loris Paillier & Lucas Salton for BUF VFX\u003c/p>\n\u003cp>\u003cstrong>BEST EDITING\u003c/strong>\u003cbr>\nBillie Eilish, “bad guy,” editing by Billie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST ART DIRECTION\u003c/strong>\u003cbr>\nAriana Grande, “7 Rings,” art direction by John Richoux\u003c/p>\n\u003cp>\u003cstrong>BEST CHOREOGRAPHY\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura,” choreography by Charm La’Donna\u003c/p>\n\u003cp>\u003cstrong>BEST CINEMATOGRAPHY\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita,” cinematography by Scott Cunningham\u003c/p>\n\u003cp>\u003cstrong>BEST GROUP\u003c/strong>\u003cbr>\nBTS\u003c/p>\n\u003cp>\u003cstrong>BEST POWER ANTHEM\u003c/strong>\u003cbr>\nMegan Thee Stallion ft. Nicki Minaj & Ty Dolla $ign, “Hot Girl Summer”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE SUMMER\u003c/strong>\u003cbr>\nAriana Grande & Social House, “boyfriend”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=10+Things+You+Might+As+Well+Know+About+The+2019+VMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1417,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 39
},
"modified": 1705022252,
"excerpt": "Monday night's MTV Video Music Awards brought lots of Taylor Swift and Missy Elliott, not to mention Lizzo, Normani, Lil Nas X, Rosalía and more.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Monday night's MTV Video Music Awards brought lots of Taylor Swift and Missy Elliott, not to mention Lizzo, Normani, Lil Nas X, Rosalía and more.",
"title": "10 Things You Might As Well Know About The 2019 VMAs | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "10 Things You Might As Well Know About The 2019 VMAs",
"datePublished": "2019-08-27T08:47:18-07:00",
"dateModified": "2024-01-11T17:17:32-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "10-things-you-might-as-well-know-about-the-2019-vmas",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=754587074&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 27 Aug 2019 01:46:00 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 27 Aug 2019 10:03:24 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2019/08/27/754587074/10-things-you-might-as-well-know-about-the-2019-vmas?ft=nprml&f=754587074",
"nprImageAgency": "AFP/Getty Images",
"nprStoryId": "754587074",
"nprByline": "Stephen Thompson",
"sticky": false,
"nprImageCredit": "Angela Weiss",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 27 Aug 2019 10:03:00 -0400",
"path": "/arts/13864955/10-things-you-might-as-well-know-about-the-2019-vmas",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On this early Tuesday morning, we sit facing a yawning precipice: the longest possible stretch of time in which no one is called upon to watch MTV’s Video Music Awards. Bask in the sweet, creamy silence of it all. We’ve earned it!\u003c/p>\n\u003cp>That said, it was a better-than-usual year for the stalwart awards show, which has been running since 1984 and tends to be best known for its moments of outrageousness. (Think Kanye West rushing the stage while Taylor Swift attempted to give a victory speech in 2009, or Miley Cyrus twerking alongside Robin Thicke four years later.) This year, the handing out of trophies barely registered, but a handful of performances and moments still shone through the din. Here’s a quick rundown.\u003c/p>\n\u003cp>1.\u003cstrong> Missy Elliott got her moment, and then some.\u003c/strong> The hip-hop legend won a wildly overdue Video Vanguard award — the VMAs equivalent of a Hall of Fame induction — and celebrated with a terrific medley that featured “The Rain,” “Hot Boyz,” “Get Ur Freak On,” “Work It,” “Pass That Dutch” and “Lose Control.” Elliott received a lovely bundle of testimonials from the likes of Lizzo, adulation from an ecstatic crowd and the opportunity to give a gracious speech in which she heaped praise on God, her dancers and other sources of strength.\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/i9I-ut1TXoA'\n title='//www.youtube.com/embed/i9I-ut1TXoA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2. \u003cstrong>Lizzo’s star turn has only begun.\u003c/strong> Though the incalculably appealing breakout star went home empty-handed, trophy-wise, her medley of “Truth Hurts” and “Good As Hell” was a huge standout for the night — a win that’ll do a lot more for her staying power than some statuette. Flanked by her marvelous team of dancers, Lizzo sang her guts out while performing in the figurative shadow of a gigantic CGI rear end, a move that was funny and raucous without crowding out her moments of poignancy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Uo0RK_olDb4'\n title='//www.youtube.com/embed/Uo0RK_olDb4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>3. Even more than usual, the actual awards barely qualified as an afterthought.\u003c/strong> All you need to know about the VMAs — the awards themselves — is that the prize for Artist of the Year was announced in a voiceover in passing, the way you’d quickly acknowledge the winner of, like, Best Costuming in an R&B Video by a Duo or Group. (Ariana Grande won Artist of the Year, but since she wasn’t in the room, why bother?)\u003c/p>\n\u003cp>4. Speaking of which: \u003cstrong>They offloaded Video of the Year and Song of the Year smack in the middle of the telecast.\u003c/strong> About 10 years after Kanye West infamously interrupted her VMAs speech — you know, “I’ma let you finish,” that whole thing — Taylor Swift took Video of the Year for “You Need to Calm Down,” while Lil Nas X and Billy Ray Cyrus won Song of the Year for their eternal “Old Town Road” remix. Then the show just kept rolling along for another hour and a half.\u003c/p>\n\u003cp>5.\u003cstrong> It was a big night for Taylor Swift in general.\u003c/strong> The pop star, whose new album \u003cem>Lover\u003c/em> came out Friday, opened the night with a medley of “You Need to Calm Down” and “Lover,” filling the screen with drag queens, vibrant colors and all the CGI emoji fit to print. When she won Video for Good — the VMAs’ prize honoring socially conscious messaging — Swift shrewdly let collaborator Todrick Hall give the speech. She even wound up adjacent to one of the night’s big memeable moments: presenter John Travolta \u003ca href=\"https://twitter.com/PopCraveMusic/status/1166165376436191232\">handing the Video of the Year trophy to Jade Jolie\u003c/a>, presumably thinking the \u003cem>Drag Race\u003c/em> veteran was Swift.\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/eIRCskNRTDY'\n title='//www.youtube.com/embed/eIRCskNRTDY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>6. \u003cstrong>Latin music got its due.\u003c/strong> Outside of, say, the Latin Grammys, Latin music tends to get short shrift in major music awards shows; it might get a medley here or there, but tends to get consigned to the margins. The 2019 VMAs understood what a creative and commercial force Latin music has become, and smartly let the music weave its way throughout the telecast as a result. Rosalía, J Balvin, Bad Bunny and Camila Cabello all performed, while Cardi B’s live-wire goofiness was a dominant presence over the course of the night.\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>7. \u003cstrong>Normani is next.\u003c/strong> The Fifth Harmony singer performed a grabby, impeccably choreographed re-creation of her “Motivation” video, turning heads late in a telecast that had begun to sag. It’s the year of Lil Nas X, and Billie Eilish, and Lizzo, and Megan Thee Stallion — and it’s the year of Normani, too.\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/RQJGqgq7MeE'\n title='//www.youtube.com/embed/RQJGqgq7MeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8. \u003cstrong>Lil Nas X isn’t done yet.\u003c/strong> Okay, so “Old Town Road” has \u003cem>finally\u003c/em> been dethroned after a record-setting run atop the \u003cem>Billboard\u003c/em> Hot 100. But the genre-smashing, social-media-savvy star has more ideas to burn, if his sly and funny VMAs performance is any indication. The charming, lighthearted intro to his seemingly \u003cem>TRON\u003c/em>-inspired performance of “Panini” had some of the night’s biggest (only?) laughs.\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/wC53WdkG44w'\n title='//www.youtube.com/embed/wC53WdkG44w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>9. \u003cstrong>Why don’t they let Joe Jonas perform onsite?\u003c/strong> In 2017, Joe Jonas’ band DNCE performed at the VMAs — sort of — by playing a set in Las Vegas that got stitched into the telecast from afar. This year, The Jonas Brothers returned to the VMAs after an 11-year absence, but were consigned to yet another stage, this time in Asbury Park, New Jersey. Is Joe Jonas not allowed within 1,000 yards of Shawn Mendes or something?\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/BjMQC_bnaNE'\n title='//www.youtube.com/embed/BjMQC_bnaNE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>10. \u003cstrong>Wrong host, wrong time.\u003c/strong> Sebastian Maniscalco is a hugely successful comedian who sells out multi-night runs at Madison Square Garden. He’s a big name. But his opening monologue — in which he snidely mocked trigger warnings and safe spaces and participation trophies and whatnot — felt like the sort of tired, these-kids-nowadays diatribe you’d expect from your least favorite uncle. It’s not that the bit was too edgy, or somehow hurtful, but that it was thuddingly predictable and utterly \u003cem>played out\u003c/em>. The night quickly bloomed into a world-straddling three-hour pansexual fantasia of self-love and acceptance, which only made it clearer how out of his element Maniscalco was. He needed a safe space of his own.\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/LBxTDp6Cpyg'\n title='//www.youtube.com/embed/LBxTDp6Cpyg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>2019 MTV MUSIC VIDEO AWARDS: THE WINNERS\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>MICHAEL JACKSON VIDEO VANGUARD AWARD\u003c/strong>\u003cbr>\nMissy Elliott\u003c/p>\n\u003cp>\u003cstrong>VIDEO OF THE YEAR\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nAriana Grande\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE YEAR\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix)”\u003c/p>\n\u003cp>\u003cstrong>BEST NEW ARTIST\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST COLLABORATION\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita”\u003c/p>\n\u003cp>\u003cstrong>PUSH ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST POP\u003c/strong>\u003cbr>\nJonas Brothers, “Sucker”\u003c/p>\n\u003cp>\u003cstrong>BEST HIP-HOP\u003c/strong>\u003cbr>\nCardi B, “Money”\u003c/p>\n\u003cp>\u003cstrong>BEST R&B\u003c/strong>\u003cbr>\nNormani ft. 6lack, “Waves”\u003c/p>\n\u003cp>\u003cstrong>BEST K-POP\u003c/strong>\u003cbr>\nBTS ft. Halsey, “Boy With Luv”\u003c/p>\n\u003cp>\u003cstrong>BEST LATIN\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura”\u003c/p>\n\u003cp>\u003cstrong>BEST DANCE\u003c/strong>\u003cbr>\nThe Chainsmokers, Bebe Rexha, “Call You Mine”\u003c/p>\n\u003cp>\u003cstrong>BEST ROCK\u003c/strong>\u003cbr>\nPanic! At The Disco, “High Hopes”\u003c/p>\n\u003cp>\u003cstrong>VIDEO FOR GOOD\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>BEST DIRECTION\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix),” directed by Calmatic\u003c/p>\n\u003cp>\u003cstrong>BEST VISUAL EFFECTS\u003c/strong>\u003cbr>\nTaylor Swift ft. Brendon Urie, “ME!,” visual effects by Loris Paillier & Lucas Salton for BUF VFX\u003c/p>\n\u003cp>\u003cstrong>BEST EDITING\u003c/strong>\u003cbr>\nBillie Eilish, “bad guy,” editing by Billie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST ART DIRECTION\u003c/strong>\u003cbr>\nAriana Grande, “7 Rings,” art direction by John Richoux\u003c/p>\n\u003cp>\u003cstrong>BEST CHOREOGRAPHY\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura,” choreography by Charm La’Donna\u003c/p>\n\u003cp>\u003cstrong>BEST CINEMATOGRAPHY\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita,” cinematography by Scott Cunningham\u003c/p>\n\u003cp>\u003cstrong>BEST GROUP\u003c/strong>\u003cbr>\nBTS\u003c/p>\n\u003cp>\u003cstrong>BEST POWER ANTHEM\u003c/strong>\u003cbr>\nMegan Thee Stallion ft. Nicki Minaj & Ty Dolla $ign, “Hot Girl Summer”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE SUMMER\u003c/strong>\u003cbr>\nAriana Grande & Social House, “boyfriend”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=10+Things+You+Might+As+Well+Know+About+The+2019+VMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864955/10-things-you-might-as-well-know-about-the-2019-vmas",
"authors": [
"byline_arts_13864955"
],
"categories": [
"arts_2303",
"arts_69",
"arts_75",
"arts_990"
],
"tags": [
"arts_9943",
"arts_8417",
"arts_7164",
"arts_2767",
"arts_2519",
"arts_7108",
"arts_2968",
"arts_8416",
"arts_6012",
"arts_3026",
"arts_5422"
],
"featImg": "arts_13864956",
"label": "arts"
}
},
"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=taylor-swift": {
"isFetching": false,
"latestQuery": {
"from": 24,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 41,
"relation": "eq"
},
"items": [
"arts_13921777",
"arts_13912555",
"arts_13906513",
"arts_13899731",
"arts_13892656",
"arts_13884673",
"arts_13883873",
"arts_13883290",
"arts_13874070",
"arts_13873277",
"arts_13868271",
"arts_13864955"
],
"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_taylor-swift": {
"isLoading": true
},
"arts_3026": {
"type": "terms",
"id": "arts_3026",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3026",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Taylor Swift",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Taylor Swift Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3038,
"slug": "taylor-swift",
"isLoading": false,
"link": "/arts/tag/taylor-swift"
},
"source_arts_13912555": {
"type": "terms",
"id": "source_arts_13912555",
"meta": {
"override": true
},
"name": "Commentary",
"link": "https://www.kqed.org/arts/category/commentary",
"isLoading": false
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_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_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_19106": {
"type": "terms",
"id": "arts_19106",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "19106",
"found": true
},
"relationships": {},
"featImg": null,
"name": "eras",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "eras Archives | KQED Arts",
"ogDescription": null
},
"ttid": 19118,
"slug": "eras",
"isLoading": false,
"link": "/arts/tag/eras"
},
"arts_3219": {
"type": "terms",
"id": "arts_3219",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3219",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Live Nation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Live Nation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3231,
"slug": "live-nation",
"isLoading": false,
"link": "/arts/tag/live-nation"
},
"arts_4802": {
"type": "terms",
"id": "arts_4802",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4802",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ticketmaster",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ticketmaster Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4814,
"slug": "ticketmaster",
"isLoading": false,
"link": "/arts/tag/ticketmaster"
},
"arts_10778": {
"type": "terms",
"id": "arts_10778",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10778",
"found": true
},
"relationships": {},
"featImg": null,
"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": 10790,
"slug": "his-is-a-good-time-to-start-a-garden-heres-how",
"isLoading": false,
"link": "/arts/affiliate/his-is-a-good-time-to-start-a-garden-heres-how"
},
"arts_2303": {
"type": "terms",
"id": "arts_2303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Commentary",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2315,
"slug": "commentary",
"isLoading": false,
"link": "/arts/category/commentary"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_2767": {
"type": "terms",
"id": "arts_2767",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2767",
"found": true
},
"relationships": {},
"featImg": null,
"name": "commentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2779,
"slug": "commentary",
"isLoading": false,
"link": "/arts/tag/commentary"
},
"arts_11014": {
"type": "terms",
"id": "arts_11014",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11014",
"found": true
},
"relationships": {},
"featImg": null,
"name": "COVID",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "COVID Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11026,
"slug": "covid",
"isLoading": false,
"link": "/arts/tag/covid"
},
"arts_1601": {
"type": "terms",
"id": "arts_1601",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1601",
"found": true
},
"relationships": {},
"featImg": null,
"name": "E-40",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "E-40 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1613,
"slug": "e-40",
"isLoading": false,
"link": "/arts/tag/e-40"
},
"arts_12226": {
"type": "terms",
"id": "arts_12226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12226",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Euphoria",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Euphoria Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12238,
"slug": "euphoria",
"isLoading": false,
"link": "/arts/tag/euphoria"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_10985": {
"type": "terms",
"id": "arts_10985",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10985",
"found": true
},
"relationships": {},
"featImg": null,
"name": "masks",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "masks Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10997,
"slug": "masks",
"isLoading": false,
"link": "/arts/tag/masks"
},
"arts_1191": {
"type": "terms",
"id": "arts_1191",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1191",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sesame Street",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Sesame Street in the Bay: Fun & Learning for the Bay's Little Ones",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Learn with Elmo, Grover & friends in sunny San Francisco! KQED shares Sesame Street's Bay Area adventures, songs, and educational resources.",
"metaRobotsNoIndex": "index",
"title": "Sesame Street in the Bay: Fun & Learning for the Bay's Little Ones",
"ogDescription": null
},
"ttid": 1203,
"slug": "sesame-street",
"isLoading": false,
"link": "/arts/tag/sesame-street"
},
"arts_2792": {
"type": "terms",
"id": "arts_2792",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2792",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2804,
"slug": "tv",
"isLoading": false,
"link": "/arts/tag/tv"
},
"arts_11323": {
"type": "terms",
"id": "arts_11323",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11323",
"found": true
},
"relationships": {},
"featImg": null,
"name": "celebrities",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "celebrities Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11335,
"slug": "celebrities",
"isLoading": false,
"link": "/arts/tag/celebrities"
},
"arts_2415": {
"type": "terms",
"id": "arts_2415",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2415",
"found": true
},
"relationships": {},
"featImg": null,
"name": "folk music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "folk music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2427,
"slug": "folk-music",
"isLoading": false,
"link": "/arts/tag/folk-music"
},
"arts_16182": {
"type": "terms",
"id": "arts_16182",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16182",
"found": true
},
"relationships": {},
"featImg": null,
"name": "parody",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "parody Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16194,
"slug": "parody",
"isLoading": false,
"link": "/arts/tag/parody"
},
"arts_7573": {
"type": "terms",
"id": "arts_7573",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7573",
"found": true
},
"relationships": {},
"featImg": null,
"name": "censorship",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "censorship Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7585,
"slug": "censorship",
"isLoading": false,
"link": "/arts/tag/censorship"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_4730": {
"type": "terms",
"id": "arts_4730",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4730",
"found": true
},
"relationships": {},
"featImg": null,
"name": "police",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "police Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4742,
"slug": "police",
"isLoading": false,
"link": "/arts/tag/police"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_9845": {
"type": "terms",
"id": "arts_9845",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9845",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Miss Americana",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Miss Americana Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9857,
"slug": "miss-americana",
"isLoading": false,
"link": "/arts/tag/miss-americana"
},
"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_2305": {
"type": "terms",
"id": "arts_2305",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2305",
"found": true
},
"relationships": {},
"featImg": null,
"name": "internet",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "internet Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2317,
"slug": "internet",
"isLoading": false,
"link": "/arts/tag/internet"
},
"arts_2391": {
"type": "terms",
"id": "arts_2391",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2391",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the internet",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the internet Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2403,
"slug": "the-internet",
"isLoading": false,
"link": "/arts/tag/the-internet"
},
"arts_21788": {
"type": "terms",
"id": "arts_21788",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21788",
"found": true
},
"relationships": {},
"featImg": null,
"name": "indie rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "indie rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21800,
"slug": "indie-rock",
"isLoading": false,
"link": "/arts/tag/indie-rock"
},
"arts_10126": {
"type": "terms",
"id": "arts_10126",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10126",
"found": true
},
"relationships": {},
"featImg": null,
"name": "coronavirus",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "coronavirus Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10138,
"slug": "coronavirus",
"isLoading": false,
"link": "/arts/tag/coronavirus"
},
"arts_7534": {
"type": "terms",
"id": "arts_7534",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7534",
"found": true
},
"relationships": {},
"featImg": null,
"name": "country music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "country music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7546,
"slug": "country-music",
"isLoading": false,
"link": "/arts/tag/country-music"
},
"arts_10127": {
"type": "terms",
"id": "arts_10127",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10127",
"found": true
},
"relationships": {},
"featImg": null,
"name": "covid-19",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "covid-19 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10139,
"slug": "covid-19",
"isLoading": false,
"link": "/arts/tag/covid-19"
},
"arts_1341": {
"type": "terms",
"id": "arts_1341",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1341",
"found": true
},
"relationships": {},
"featImg": null,
"name": "David Bowie",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "David Bowie Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1353,
"slug": "david-bowie",
"isLoading": false,
"link": "/arts/tag/david-bowie"
},
"arts_8572": {
"type": "terms",
"id": "arts_8572",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8572",
"found": true
},
"relationships": {},
"featImg": null,
"name": "madonna",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "madonna Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8584,
"slug": "madonna",
"isLoading": false,
"link": "/arts/tag/madonna"
},
"arts_4919": {
"type": "terms",
"id": "arts_4919",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4919",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Michael Jackson",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Michael Jackson Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4931,
"slug": "michael-jackson",
"isLoading": false,
"link": "/arts/tag/michael-jackson"
},
"arts_913": {
"type": "terms",
"id": "arts_913",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "913",
"found": true
},
"relationships": {},
"featImg": null,
"name": "punk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "punk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 931,
"slug": "punk",
"isLoading": false,
"link": "/arts/tag/punk"
},
"arts_905": {
"type": "terms",
"id": "arts_905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 923,
"slug": "rock",
"isLoading": false,
"link": "/arts/tag/rock"
},
"arts_10416": {
"type": "terms",
"id": "arts_10416",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10416",
"found": true
},
"relationships": {},
"featImg": null,
"name": "shelter in place",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "shelter in place Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10428,
"slug": "shelter-in-place",
"isLoading": false,
"link": "/arts/tag/shelter-in-place"
},
"arts_1553": {
"type": "terms",
"id": "arts_1553",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1553",
"found": true
},
"relationships": {},
"featImg": null,
"name": "twitter",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "twitter Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1565,
"slug": "twitter",
"isLoading": false,
"link": "/arts/tag/twitter"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_13672": {
"type": "terms",
"id": "arts_13672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13672",
"found": true
},
"relationships": {},
"name": "Documentaries",
"slug": "documentaries",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Documentaries | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13684,
"isLoading": false,
"link": "/arts/tag/documentaries"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_1962": {
"type": "terms",
"id": "arts_1962",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1962",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feminism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feminism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1974,
"slug": "feminism",
"isLoading": false,
"link": "/arts/tag/feminism"
},
"arts_3324": {
"type": "terms",
"id": "arts_3324",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3324",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Netflix",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Netflix Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3336,
"slug": "netflix",
"isLoading": false,
"link": "/arts/tag/netflix"
},
"arts_2462": {
"type": "terms",
"id": "arts_2462",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2462",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sexual assault",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sexual assault Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2474,
"slug": "sexual-assault",
"isLoading": false,
"link": "/arts/tag/sexual-assault"
},
"arts_7164": {
"type": "terms",
"id": "arts_7164",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7164",
"found": true
},
"relationships": {},
"featImg": null,
"name": "billie eilish",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "billie eilish Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7176,
"slug": "billie-eilish",
"isLoading": false,
"link": "/arts/tag/billie-eilish"
},
"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_6117": {
"type": "terms",
"id": "arts_6117",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6117",
"found": true
},
"relationships": {},
"featImg": null,
"name": "drake",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "drake Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6129,
"slug": "drake",
"isLoading": false,
"link": "/arts/tag/drake"
},
"arts_9669": {
"type": "terms",
"id": "arts_9669",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9669",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Harry Styles",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Harry Styles Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9681,
"slug": "harry-styles",
"isLoading": false,
"link": "/arts/tag/harry-styles"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"arts_7108": {
"type": "terms",
"id": "arts_7108",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7108",
"found": true
},
"relationships": {},
"featImg": null,
"name": "lil nas x",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "lil nas x Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7120,
"slug": "lil-nas-x",
"isLoading": false,
"link": "/arts/tag/lil-nas-x"
},
"arts_2968": {
"type": "terms",
"id": "arts_2968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Lizzo",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Lizzo Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2980,
"slug": "lizzo",
"isLoading": false,
"link": "/arts/tag/lizzo"
},
"arts_1377": {
"type": "terms",
"id": "arts_1377",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1377",
"found": true
},
"relationships": {},
"featImg": null,
"name": "NPR",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1389,
"slug": "npr",
"isLoading": false,
"link": "/arts/tag/npr"
},
"arts_4591": {
"type": "terms",
"id": "arts_4591",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4591",
"found": true
},
"relationships": {},
"featImg": null,
"name": "npr music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "npr music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4603,
"slug": "npr-music",
"isLoading": false,
"link": "/arts/tag/npr-music"
},
"arts_4271": {
"type": "terms",
"id": "arts_4271",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4271",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tiny desk concert",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tiny desk concert Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4283,
"slug": "tiny-desk-concert",
"isLoading": false,
"link": "/arts/tag/tiny-desk-concert"
},
"arts_9943": {
"type": "terms",
"id": "arts_9943",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9943",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9955,
"slug": "awards",
"isLoading": false,
"link": "/arts/tag/awards"
},
"arts_8417": {
"type": "terms",
"id": "arts_8417",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8417",
"found": true
},
"relationships": {},
"featImg": null,
"name": "awards shows",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "awards shows Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8429,
"slug": "awards-shows",
"isLoading": false,
"link": "/arts/tag/awards-shows"
},
"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_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_6012": {
"type": "terms",
"id": "arts_6012",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6012",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6024,
"slug": "pop-music",
"isLoading": false,
"link": "/arts/tag/pop-music"
},
"arts_5422": {
"type": "terms",
"id": "arts_5422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "television",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "television Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5434,
"slug": "television",
"isLoading": false,
"link": "/arts/tag/television"
}
},
"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
}
}
