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_13827554": {
"type": "attachments",
"id": "arts_13827554",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13827554",
"found": true
},
"parent": 13827545,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/RS29991_IMG_3735-2-qut-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1521522674,
"modified": 1521522721,
"caption": "Hard-core gamer Marco Salsiccia of San Francisco misses the visually immersive games he used to play before he became totally blind four years ago. A growing number of game developers are waking up to the audience demand for accessibility options.",
"description": "Hard-core gamer Marco Salsiccia of San Francisco misses the visually immersive games he used to play before he became totally blind four years ago. A growing number of game developers are waking up to the audience demand for accessibility options.",
"title": "RS29991_IMG_3735 2-qut",
"credit": "Photo: Rachael Myrow/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13826175": {
"type": "attachments",
"id": "arts_13826175",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13826175",
"found": true
},
"parent": 13826120,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--520x260.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 260
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--160x80.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 80
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--960x480.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 480
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--375x188.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 188
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live-.jpg",
"width": 1920,
"height": 960
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--1020x510.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 510
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--1180x590.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 590
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--800x400.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 400
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--1920x960.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 960
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--1180x590.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 590
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--1920x960.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 960
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--768x384.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 384
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/2-Niko-at-Journey-Live--240x120.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 120
}
},
"publishDate": 1520037991,
"modified": 1520040609,
"caption": "SFCM students give a live performance of the 'Journey' video game soundtrack, with the game's award-winning composer Austin Wintory as guest conductor.",
"description": null,
"title": "2 Niko at Journey Live",
"credit": "Courtesy of San Francisco Conservatory of Music",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"rachael-myrow": {
"type": "authors",
"id": "251",
"meta": {
"index": "authors_1716337520",
"id": "251",
"found": true
},
"name": "Rachael Myrow",
"firstName": "Rachael",
"lastName": "Myrow",
"slug": "rachael-myrow",
"email": "rmyrow@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Senior Editor of KQED's Silicon Valley News Desk",
"bio": "• I write and edit stories about how Silicon Valley power and policies shape everyday life in California. I’m also passionate about making Bay Area history and culture more accessible to a broad public. • I’ve been a journalist for most of my life, starting in high school with The Franklin Press in Los Angeles, where I grew up. While earning my first degree in English at UC Berkeley, I got my start in public radio at KALX-FM. After completing a second degree in journalism at Cal, I landed my first professional job at Marketplace, then moved on to KPCC (now LAist), and then KQED, where I hosted The California Report for more than seven years. • My reporting has appeared on NPR, The World, WBUR’s \u003ci>Here & Now\u003c/i>, and the BBC. I also guest host for KQED’s \u003ci>Forum\u003c/i>, as well as the Commonwealth Club in San Francisco. • I speak periodically on media, democracy and technology issues, and do voiceover work for documentaries and educational video projects. • Outside of the studio, you'll find me hiking Bay Area trails and whipping up Insta-ready meals in my kitchen. • I do not accept gifts, money, or favors from anyone connected to my reporting, I don't pay people for information, and I do not support or donate to political causes. • I strive to treat the people I report on with fairness, honesty, and respect. I also recognize there are often multiple sides to a story and work to verify information through multiple sources and documentation. If I get something wrong, I correct it.",
"avatar": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twitter": "rachaelmyrow",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": "https://www.linkedin.com/in/rachaelmyrow/",
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"edit_others_posts",
"editor"
]
},
{
"site": "futureofyou",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"author"
]
}
],
"headData": {
"title": "Rachael Myrow | KQED",
"description": "Senior Editor of KQED's Silicon Valley News Desk",
"ogImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/rachael-myrow"
},
"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_video-games": {
"type": "terms",
"id": "arts_4149",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4149",
"score": 8.791338
},
"featImg": null,
"name": "video games",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "video games Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4161,
"slug": "video-games",
"isLoading": false,
"title": "video games",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 4
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=video-games",
"seeMore": false,
"paginated": true,
"page": 4
}
},
{
"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_13827545": {
"type": "posts",
"id": "arts_13827545",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13827545",
"score": null,
"sort": [
1521560754000
]
},
"guestAuthors": [],
"slug": "gaming-has-many-visually-impaired-fans-why-not-serve-them-better",
"title": "Gaming Has Many Visually Impaired Fans. Why Not Serve Them Better?",
"publishDate": 1521560754,
"format": "audio",
"headTitle": "Gaming Has Many Visually Impaired Fans. Why Not Serve Them Better? | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>A few years ago, \u003ca href=\"https://www.ea.com/able/resources/madden/madden-18\" target=\"_blank\" rel=\"noopener\">\u003cem>Madden NFL\u003c/em>\u003c/a> graphics developer Karen Stevens won a “game jam” — or hackathon — at the video game company \u003ca href=\"https://www.ea.com\" target=\"_blank\" rel=\"noopener\">Electronic Arts\u003c/a>.\u003c/p>\n\u003cp>Her pitch: tweak the code to make it possible to adjust, brightness and contrast controls, opt for bigger menu icons and change the colors — you know, for people who are colorblind. “Turns out one out of 12 men are colorblind, and one out of 200 women,” Stevens says. “There are probably half a million color-blind Madden players, so it really makes an impact.”\u003c/p>\n\u003cp>As the \u003ca href=\"http://www.gdconf.com\" target=\"_blank\" rel=\"noopener\">Game Developers Conference\u003c/a> packs the streets of downtown San Francisco this week, let’s take a moment to assess how the industry is addressing \u003ca href=\"http://schedule.gdconf.com/search/diversity\" target=\"_blank\" rel=\"noopener\">diversity\u003c/a> from an accessibility perspective.\u003c/p>\n\u003cp>As surprising as it may seem, given the visually intensive nature of most games today, there are visually impaired people all over the world playing games — whether they were designed with them in mind or not.\u003c/p>\n\u003cp>Four years after that hackathon, Stevens is now EA’s Sports Accessibility Lead, making sure accessibility is “baked in” to product development from the start.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stevens also spreads the gospel by giving talks at conferences. “\u003ca href=\"https://www.gdcvault.com/play/1024114/Game-Accessibility-Practical-Visual-Fixes\" target=\"_blank\" rel=\"noopener\">It’s a mindset, not a feature\u003c/a>,” she told last year’s GDC. It really should be considered in every step of the process.”\u003c/p>\n\u003cfigure id=\"attachment_13827553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827553\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-800x521.png\" alt='\"It’s not a universal thing yet, but I do see progress all around,\" says EA’s Sports Accessibility Lead Karen Stevens.' width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-768x501.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-240x156.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-375x244.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-520x339.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM.png 870w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“It’s not a universal thing yet, but I do see progress all around,” says EA’s Sports Accessibility Lead Karen Stevens. \u003ccite>(Photo: Courtesy of GDC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, she also spoke at \u003ca href=\"https://www.gaconf.com\" target=\"_blank\" rel=\"noopener\">#GAconf\u003c/a>, a conference totally focused on accessibility that was held Monday in San Francisco.\u003c/p>\n\u003cp>“Just because a game isn’t designed to be accessible, doesn’t mean people can’t play it. Like, when I started my role, people were already playing EA games — blind. They just didn’t have any support, so they would struggle with things, but they would still play.”\u003c/p>\n\u003cp>Redwood City-based EA isn’t the only company to prioritize the kind of customization that expands who can play its games. Last year, for instance, Microsoft introduced the “co-pilot” feature, that allows two people to share one controller. Ostensibly, blind gamers could pair up with sighted friends.\u003c/p>\n\u003cp>“Even though we were building it for gamers with disabilities in mind, it opens up a whole new variety of ways to play on our platform,” says Evelyn Thomas, a program manger on \u003ca href=\"https://www.xbox.com/en-US/xbox-one/accessibility\" target=\"_blank\" rel=\"noopener\">Microsoft’s Xbox\u003c/a>.\u003c/p>\n\u003cp>“Parents with children who aren’t necessarily that skilled yet in playing games. Two people sitting on a couch and playing together on the same game. One person in the turnt of the tank and the other person steering,” Thomas explains.\u003c/p>\n\u003cp>\u003cstrong>Hankering for a more immersive experience\u003c/strong>\u003c/p>\n\u003cp>Marco Salsiccia of San Francisco is the very kind of gamer likely to benefit from the work Stevens and Thomas do.\u003c/p>\n\u003cp>Salsiccia lost his left eye to retinal cancer as a baby, and related complications took his right eye about four years ago. “My vision just went dark one day, in a matter of 30 minutes, and it never came back.”\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=8Co9KroHhW8&w=560&h=315]\u003cbr>\nAmong other things, the blindness ended his first career. ” I was a motion graphics animator and a Visual FX artist,” he says with a sigh.\u003c/p>\n\u003cp>These days, when he’s not working as an accessibility consultant for Lyft, Salsiccia still gets together with his sighted gamer buddies to get as close to the games he used to play as possible. “I have a photographic and eidetic memory, so I remember a lot of the games that I played. So while they’re playing it, I can visualize what the levels look like, like where enemies were. Like, ‘Careful around this corner. I know it’s going to come up.’ Being able to sit here and just listen to the experience was fun, though I do miss actually playing it.”\u003c/p>\n\u003cp>His experience reflects a common truth about gaming: it’s as much about socializing as it is about the games. “Gaming is in fact the way many teens bond with their friends, and accessibility barriers mean, unfortunately, that there will be social distance between blind teens and their friends,” writes Bryan Bashin of San Francisco’s \u003ca href=\"http://lighthouse-sf.org\" target=\"_blank\" rel=\"noopener\">LightHouse for the Blind and Visually Impaired\u003c/a>.\u003c/p>\n\u003cp>“Yes, there are a number of blind gamers who play games designed to be nonvisual, and many really enjoy these. But it is the enjoyment of a ghetto, and the key social benefits of connecting with other gamers in person or online is lost with blind-specific games,” Bashin adds.\u003c/p>\n\u003cp>Salsiccia plays online in game rooms with blind or otherwise visually impaired players from all over the world. It’s a trip to watch him play, because I’m staring at his laptop, but nothing’s happening on the screen.\u003c/p>\n\u003cp>He reels off the games he can play. “Monopoly. Uno. Blackjack. Yahtze. Battleship. Shut the box. Cards against humanity. I’m able to come into a game room, open up a little table. people can join me, or I can invite my friends and we can all play rummy together or any of the games here.\u003c/p>\n\u003cp>“But a lot of the games that I’ve found are accessible, aren’t necessarily immersive,” he adds.\u003c/p>\n\u003cp>\u003cstrong>Gaming the games\u003c/strong>\u003c/p>\n\u003cp>Now, a blind or visually impaired person can play an immersive game, like Madden NFL, by paying close attention to the verbal descriptions, music and other audio cues. As more game designers send vibrations to the controllers, those provide non-visual cues as well. And of course, these gamers are more likely than the average to really read the manual.\u003c/p>\n\u003cp>One gamer in England who goes by the moniker “SightlessKombat” has developed an international reputation playing first-person shooter games. You can watch him on his \u003ca href=\"https://www.youtube.com/channel/UCTYyCwuvR_3FPvtUDOmz_1Q\" target=\"_blank\" rel=\"noopener\">YouTube channel\u003c/a>.\u003c/p>\n\u003cp>But there are also immersive games that put the audio front and center — like The Nightjar, a sci fi thriller set in outer space.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=zeBFCQ-aBds]\u003cbr>\nSalsiccia explains, “The whole experience is narrated by Benedict Cumberbatch, so you have his voice in your ears, guiding you through the game, while your character’s trying to escape a space station that’s been overrun by aliens and is being sucked into the event horizon of a black hole.”\u003c/p>\n\u003cp>“There are some games that almost hit that level of immersion, but there could be more,” Salsiccia says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nothing will \u003ci>perfectly\u003c/i> replace the visceral delight Salsiccia used to get playing with visually immersive games for. But the technology is getting better with each passing year…as is the attitude among game developers.\u003c/p>\n\n",
"blocks": [],
"excerpt": "A growing number of game developers are offering options that make their games accessible to the visually impaired.",
"status": "publish",
"parent": 0,
"modified": 1726771202,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 30,
"wordCount": 1189
},
"headData": {
"title": "Gaming Has Many Visually Impaired Fans. Why Not Serve Them Better? | KQED",
"description": "A growing number of game developers are offering options that make their games accessible to the visually impaired.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Gaming Has Many Visually Impaired Fans. Why Not Serve Them Better?",
"datePublished": "2018-03-20T08:45:54-07:00",
"dateModified": "2024-09-19T11:40:02-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2018/03/MyrowBlindGamers.mp3",
"airdate": "1521532800",
"sticky": false,
"audioTrackLength": 249,
"path": "/arts/13827545/gaming-has-many-visually-impaired-fans-why-not-serve-them-better",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few years ago, \u003ca href=\"https://www.ea.com/able/resources/madden/madden-18\" target=\"_blank\" rel=\"noopener\">\u003cem>Madden NFL\u003c/em>\u003c/a> graphics developer Karen Stevens won a “game jam” — or hackathon — at the video game company \u003ca href=\"https://www.ea.com\" target=\"_blank\" rel=\"noopener\">Electronic Arts\u003c/a>.\u003c/p>\n\u003cp>Her pitch: tweak the code to make it possible to adjust, brightness and contrast controls, opt for bigger menu icons and change the colors — you know, for people who are colorblind. “Turns out one out of 12 men are colorblind, and one out of 200 women,” Stevens says. “There are probably half a million color-blind Madden players, so it really makes an impact.”\u003c/p>\n\u003cp>As the \u003ca href=\"http://www.gdconf.com\" target=\"_blank\" rel=\"noopener\">Game Developers Conference\u003c/a> packs the streets of downtown San Francisco this week, let’s take a moment to assess how the industry is addressing \u003ca href=\"http://schedule.gdconf.com/search/diversity\" target=\"_blank\" rel=\"noopener\">diversity\u003c/a> from an accessibility perspective.\u003c/p>\n\u003cp>As surprising as it may seem, given the visually intensive nature of most games today, there are visually impaired people all over the world playing games — whether they were designed with them in mind or not.\u003c/p>\n\u003cp>Four years after that hackathon, Stevens is now EA’s Sports Accessibility Lead, making sure accessibility is “baked in” to product development from the start.\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>Stevens also spreads the gospel by giving talks at conferences. “\u003ca href=\"https://www.gdcvault.com/play/1024114/Game-Accessibility-Practical-Visual-Fixes\" target=\"_blank\" rel=\"noopener\">It’s a mindset, not a feature\u003c/a>,” she told last year’s GDC. It really should be considered in every step of the process.”\u003c/p>\n\u003cfigure id=\"attachment_13827553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827553\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-800x521.png\" alt='\"It’s not a universal thing yet, but I do see progress all around,\" says EA’s Sports Accessibility Lead Karen Stevens.' width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-768x501.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-240x156.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-375x244.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM-520x339.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Screen-Shot-2018-03-18-at-1.43.58-PM.png 870w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“It’s not a universal thing yet, but I do see progress all around,” says EA’s Sports Accessibility Lead Karen Stevens. \u003ccite>(Photo: Courtesy of GDC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, she also spoke at \u003ca href=\"https://www.gaconf.com\" target=\"_blank\" rel=\"noopener\">#GAconf\u003c/a>, a conference totally focused on accessibility that was held Monday in San Francisco.\u003c/p>\n\u003cp>“Just because a game isn’t designed to be accessible, doesn’t mean people can’t play it. Like, when I started my role, people were already playing EA games — blind. They just didn’t have any support, so they would struggle with things, but they would still play.”\u003c/p>\n\u003cp>Redwood City-based EA isn’t the only company to prioritize the kind of customization that expands who can play its games. Last year, for instance, Microsoft introduced the “co-pilot” feature, that allows two people to share one controller. Ostensibly, blind gamers could pair up with sighted friends.\u003c/p>\n\u003cp>“Even though we were building it for gamers with disabilities in mind, it opens up a whole new variety of ways to play on our platform,” says Evelyn Thomas, a program manger on \u003ca href=\"https://www.xbox.com/en-US/xbox-one/accessibility\" target=\"_blank\" rel=\"noopener\">Microsoft’s Xbox\u003c/a>.\u003c/p>\n\u003cp>“Parents with children who aren’t necessarily that skilled yet in playing games. Two people sitting on a couch and playing together on the same game. One person in the turnt of the tank and the other person steering,” Thomas explains.\u003c/p>\n\u003cp>\u003cstrong>Hankering for a more immersive experience\u003c/strong>\u003c/p>\n\u003cp>Marco Salsiccia of San Francisco is the very kind of gamer likely to benefit from the work Stevens and Thomas do.\u003c/p>\n\u003cp>Salsiccia lost his left eye to retinal cancer as a baby, and related complications took his right eye about four years ago. “My vision just went dark one day, in a matter of 30 minutes, and it never came back.”\u003c/p>\n\u003cp>\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/8Co9KroHhW8'\n title='//www.youtube.com/embed/8Co9KroHhW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nAmong other things, the blindness ended his first career. ” I was a motion graphics animator and a Visual FX artist,” he says with a sigh.\u003c/p>\n\u003cp>These days, when he’s not working as an accessibility consultant for Lyft, Salsiccia still gets together with his sighted gamer buddies to get as close to the games he used to play as possible. “I have a photographic and eidetic memory, so I remember a lot of the games that I played. So while they’re playing it, I can visualize what the levels look like, like where enemies were. Like, ‘Careful around this corner. I know it’s going to come up.’ Being able to sit here and just listen to the experience was fun, though I do miss actually playing it.”\u003c/p>\n\u003cp>His experience reflects a common truth about gaming: it’s as much about socializing as it is about the games. “Gaming is in fact the way many teens bond with their friends, and accessibility barriers mean, unfortunately, that there will be social distance between blind teens and their friends,” writes Bryan Bashin of San Francisco’s \u003ca href=\"http://lighthouse-sf.org\" target=\"_blank\" rel=\"noopener\">LightHouse for the Blind and Visually Impaired\u003c/a>.\u003c/p>\n\u003cp>“Yes, there are a number of blind gamers who play games designed to be nonvisual, and many really enjoy these. But it is the enjoyment of a ghetto, and the key social benefits of connecting with other gamers in person or online is lost with blind-specific games,” Bashin adds.\u003c/p>\n\u003cp>Salsiccia plays online in game rooms with blind or otherwise visually impaired players from all over the world. It’s a trip to watch him play, because I’m staring at his laptop, but nothing’s happening on the screen.\u003c/p>\n\u003cp>He reels off the games he can play. “Monopoly. Uno. Blackjack. Yahtze. Battleship. Shut the box. Cards against humanity. I’m able to come into a game room, open up a little table. people can join me, or I can invite my friends and we can all play rummy together or any of the games here.\u003c/p>\n\u003cp>“But a lot of the games that I’ve found are accessible, aren’t necessarily immersive,” he adds.\u003c/p>\n\u003cp>\u003cstrong>Gaming the games\u003c/strong>\u003c/p>\n\u003cp>Now, a blind or visually impaired person can play an immersive game, like Madden NFL, by paying close attention to the verbal descriptions, music and other audio cues. As more game designers send vibrations to the controllers, those provide non-visual cues as well. And of course, these gamers are more likely than the average to really read the manual.\u003c/p>\n\u003cp>One gamer in England who goes by the moniker “SightlessKombat” has developed an international reputation playing first-person shooter games. You can watch him on his \u003ca href=\"https://www.youtube.com/channel/UCTYyCwuvR_3FPvtUDOmz_1Q\" target=\"_blank\" rel=\"noopener\">YouTube channel\u003c/a>.\u003c/p>\n\u003cp>But there are also immersive games that put the audio front and center — like The Nightjar, a sci fi thriller set in outer space.\u003c/p>\n\u003cp>\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/zeBFCQ-aBds'\n title='//www.youtube.com/embed/zeBFCQ-aBds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nSalsiccia explains, “The whole experience is narrated by Benedict Cumberbatch, so you have his voice in your ears, guiding you through the game, while your character’s trying to escape a space station that’s been overrun by aliens and is being sucked into the event horizon of a black hole.”\u003c/p>\n\u003cp>“There are some games that almost hit that level of immersion, but there could be more,” Salsiccia says.\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>Nothing will \u003ci>perfectly\u003c/i> replace the visceral delight Salsiccia used to get playing with visually immersive games for. But the technology is getting better with each passing year…as is the attitude among game developers.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13827545/gaming-has-many-visually-impaired-fans-why-not-serve-them-better",
"authors": [
"251"
],
"categories": [
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_4642",
"arts_3001",
"arts_1935",
"arts_4149"
],
"featImg": "arts_13827554",
"label": "arts"
},
"arts_13826120": {
"type": "posts",
"id": "arts_13826120",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13826120",
"score": null,
"sort": [
1520366443000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1520366443,
"format": "image",
"title": "In San Francisco, Video Games Are Classical Music's New Frontier",
"headTitle": "In San Francisco, Video Games Are Classical Music’s New Frontier | KQED",
"content": "\u003cp>It’s Friday night at the \u003ca href=\"https://sfcm.edu\" target=\"_blank\" rel=\"noopener\">San Francisco Conservatory of Music\u003c/a> and although classes are over, the building is still bustling with students squeezing in rehearsals before leaving campus for the weekend. As \u003ca href=\"http://www.maryclarebrzytwa.com/\" target=\"_blank\" rel=\"noopener\">MaryClare Brzytwa\u003c/a>, the Executive Director of Technology and Applied Composition, walks down the hall and past the recording studio, she overhears a booming 808 — not a violin or piano, as one might expect at a hundred-year-old classical music institution like this one.\u003c/p>\n\u003cp>Brzytwa opens the door to find \u003ca href=\"https://soundcloud.com/soberseas\" target=\"_blank\" rel=\"noopener\">Jose Soberanes\u003c/a> hunched over a digital workstation in his bright orange beanie. Soberanes isn’t your stereotypical classical music student; for starters, his favorite artist is Travis Scott, the hit-making, psychedelic trap rapper. Since enrolling at the San Francisco Conservatory, he’s interned at Kanye West’s creative agency DONDA and done audio engineering for video games like \u003cem>The Walking Dead: A New Frontier\u003c/em> and \u003cem>Minecraft Story Mode Season 2\u003c/em>.\u003c/p>\n\u003cp>Soberanes is a second-year student in the conservatory’s innovative new program Technology and Applied Composition (TAC), which prepares students for careers in composition for video games, films, and other media. The new undergraduate major (and its adjacent one-year, post-grad professional studies diploma) has only existed at the San Francisco Conservatory of Music (SFCM) since 2015, when Brzytwa spearheaded it, and doesn’t even have a senior class yet. But its students have already produced \u003ca href=\"https://soundcloud.com/sfcmtac\" target=\"_blank\" rel=\"noopener\">cutting-edge, high-profile collaborations\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13826159\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826159\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-800x450.jpg\" alt=\"San Francisco Conservatory of Music student Jose Soberanes in the campus studio.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Conservatory of Music student Jose Soberanes in the campus studio. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Case in point: Soberanes’ current project is an avant-garde, hip-hop-inspired score for the San Francisco Ballet \u003ca href=\"http://xseed2020.com\" target=\"_blank\" rel=\"noopener\">in collaboration with fellow student Moya Violet\u003c/a>. When Brzytwa enters, he pulls up an audio file to show off their progress. “[The TAC program] has definitely pushed me to be more experimental. I don’t know if it was on purpose,” he says, hitting play on a clip from his composition. A big wave of bass blasts through the speakers; hissing percussion transforms it into a club beat, which he then raps over.\u003c/p>\n\u003cp>Brzytwa laughs. “It \u003cem>definitely\u003c/em> was on purpose,” she answers, visibly proud.\u003c/p>\n\u003cfigure id=\"attachment_13826162\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826162\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/mcb-at-sfcm-800x450.jpg\" alt=\"MaryClare Brzytwa, the San Francisco Conservatory of Music's Associate Dean for New Media and Music Technology, conceptualized the conservatory's new Technology and Applied Composition program.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/mcb-at-sfcm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/mcb-at-sfcm-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/mcb-at-sfcm-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/mcb-at-sfcm-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/mcb-at-sfcm-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/mcb-at-sfcm-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MaryClare Brzytwa, the San Francisco Conservatory of Music’s Associate Dean for New Media and Music Technology, conceptualized the conservatory’s new Technology and Applied Composition program. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With her breadth of musical experience and connections in Silicon Valley, Brzytwa has pushed the San Francisco Conservatory to modernize its curriculum — and the country’s other top classical music schools are still catching up. In the TAC program, technology isn’t solely to enhance more traditional modes of music-making. Instead, it carries the same weight as classical training, and students learn to apply high-level musicianship to the entertainment industry’s real-world demands. That’s not to say that the program is purely technical like at a trade school; instead, Brzytwa fosters an experimental approach on campus and encourages students to pursue creatively challenging projects — like Soberanes’ San Francisco Ballet piece.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One could call TAC the perfect marriage of technology, classical musicianship, and experimentation. It’s a natural fit for classical musicians who want to write for video games and other applications in the Bay Area’s tech industry. And as its first cohort of undergrads prepares to enter the job market, the program has the potential to set a precedent for conservatories and music programs around the country.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>‘The [Gaming] Industry Needs More Help’\u003c/h2>\n\u003cp>While technology plays a relatively small role at more traditional music schools like Julliard and the New England Conservatory, the San Francisco Conservatory’s Technology and Applied Composition program answers a growing need for composers who specialize in writing for media — and for the Bay Area in particular, that means video games. TAC students take many of the \u003ca href=\"https://sfcm.edu/departments/technology-and-applied-composition/curriculum-tac-undergraduate-students\" target=\"_blank\" rel=\"noopener\">same courses\u003c/a> one might expect from a classical composition major — like ear training and music theory — but they also study game audio, and do mock commissions for Sony and the Walt Disney Family Museum.\u003c/p>\n\u003cp>https://youtu.be/2FwvWgmK64E\u003c/p>\n\u003cp>The Bay Area is home to video game giants like Sony Interactive Entertainment, Electronic Arts, and Ubisoft. It’s also where you’ll find smaller game audio companies like Bay Area Sound, which, incidentally, was co-founded by SFCM professor Clint Bajakian, a former composer and sound design supervisor at George Lucas’ (now-shuttered) video game company LucasArts. As tech companies vie to make gaming a mainstream form of entertainment — and court demographics \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2014/08/22/adult-women-gamers-outnumber-teenage-boys/?utm_term=.e1444c75d01d\" target=\"_blank\" rel=\"noopener\">outside of the stereotypical gamer bro\u003c/a> — there’s a growing demand for composers who can create music that deepens games’ emotional content and makes their interactive aspects more sensory and vivid.\u003c/p>\n\u003cfigure id=\"attachment_13826165\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826165\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-800x450.jpg\" alt=\"TAC student Thomas Soto demos a VR game for which fellow student Niko Korolog composed the soundtrack.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TAC student Thomas Soto demos a VR game for which fellow student Niko Korolog composed the soundtrack. \u003ccite>(Courtesy of the San Francisco Conservatory of Music.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Video game music has come a long way from the chiptune soundtracks of early Nintendo games like \u003cem>Super Mario Bros\u003c/em>, which typically consisted of little more than a few loops of computer melody. Today, video game soundtracks have evolved to be as varied and complex as those in film. Popular adventure games like \u003ca href=\"https://www.youtube.com/watch?v=_q51LZ2HpbE\" target=\"_blank\" rel=\"noopener\">\u003cem>Star Wars: Battlefront II\u003c/em>\u003c/a>, for instance, build drama through epic orchestral arrangements. \u003ca href=\"https://www.youtube.com/watch?v=n4IPBiB7SF4\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Night\u003c/em>\u003c/a>, one of this year’s most anticipated indie games, immerses players in a futuristic cyberpunk world via ’80s-inspired synthpop.\u003c/p>\n\u003cp>As games that prioritize storytelling over action continue to rise in popularity, music can play an even more crucial role in conveying their emotional content. For instance, one of the most critically acclaimed games of 2016, \u003ca href=\"https://www.nytimes.com/2016/03/17/arts/video-games/video-games-where-hearts-not-guns-drive-the-action.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Firewatch\u003c/em>\u003c/a> (from San Francisco studio Campo Santo), tells the story of a Wyoming man who takes a job in the wilderness as his wife struggles with Alzheimer’s. A somber, guitar-driven soundtrack of folk, country, and bluegrass underscores the game’s rural environment and wistful tone.\u003c/p>\n\u003cp>“The industry needs more help; the scope and the scale of a lot of these projects have gotten to be such that you can’t just have the audio person handle all the audio for a game,” says Jonathan Mayer, a visiting lecturer at SFCM who previously served as music director at Sony Playstation and currently works in sound design at Facebook. “Something as simple as getting a gig assisting a bigger-name composer — those jobs are really important and require a more technical knowledge because they’re helping more established composers bridge this gap right now.”\u003c/p>\n\u003cfigure id=\"attachment_13826166\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826166\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-800x450.jpg\" alt=\"Jonathan Mayer, former music director at Sony Playstation, is a visiting lecturer at SFCM.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Mayer, former music director at Sony Playstation, is a visiting lecturer at SFCM. \u003ccite>(Kristina Bakrevski )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to a Bureau of Labor Statistics study, music director and composer jobs \u003ca href=\"https://www.gamesoundcon.com/composer-employment-report\" target=\"_blank\" rel=\"noopener\">increased by 154 percent from 2004 to 2015\u003c/a>, and are projected to grow by \u003ca href=\"https://www.msn.com/en-us/money/markets/americas-fastest-growing-and-fastest-shrinking-jobs/ar-AAdVab7#page=10\" target=\"_blank\" rel=\"noopener\">an additional 4.5 percent\u003c/a> through 2022.\u003c/p>\n\u003cp>Part of that growth can be attributed to the gaming industry, which has sizably increased over the past decade with new games on the Apple App store and Facebook, as well as expansions in mainstream and indie studios. According to the Entertainment Software Association, the video game industry went from employing \u003ca href=\"http://www.theesa.com/article/u-s-video-game-industrys-growth-outpaces-national-economy/\" target=\"_blank\" rel=\"noopener\">80,000 people\u003c/a> in 2007 to \u003ca href=\"http://www.theesa.com/article/u-s-video-game-industry-expands-50-states-supporting-220000-jobs-30-4-billion-revenue/\" target=\"_blank\" rel=\"noopener\">over 220,000\u003c/a> in 2017.\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0048005/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">Clint Bajakian\u003c/a>, whose composition and sound design credits include major game franchises like \u003cem>Star Wars\u003c/em>, \u003cem>God of War\u003c/em>, and \u003cem>Indiana Jones\u003c/em>, has observed an explosion of audio jobs in the gaming industry over the course of his 26-year career. But he says most conservatories are still focused primarily on live performance, despite students’ growing interest in tech.\u003c/p>\n\u003cp>As Bajakian sees it, conservatories of music “can be wary of introducing new ways of technology, new ways of doing things, because they’re concerned that the tradition of excellence that goes back hundreds of years might be threatened.”\u003c/p>\n\u003cfigure id=\"attachment_13826167\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826167\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-800x450.jpg\" alt=\"SFCM professor Clint Bajakian, a veteran composer who has done audio for game franchises like 'God of War' and 'Star Wars,' in a private lesson with a student.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SFCM professor Clint Bajakian, a veteran composer who has done audio for game franchises like ‘God of War’ and ‘Star Wars,’ in a private lesson with a student. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a result, most conservatory graduates who aspire to work in video games and film have to learn on the job — which comes with limitations.\u003c/p>\n\u003cp>“Not many composers that I’ve worked with so far over the past couple decades could come to meeting with a game developer and speak the language of how the music is going to work in the game,” says Mayer. “So what TAC is doing that’s really smart is giving them more of a grounding in fundamental concepts and methodologies that will very easily transfer from format to format.”\u003c/p>\n\u003cp>“I think over time,” says Bajakian, “we will see more conservatories embracing this.”\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Modernizing the Conservatory Curriculum\u003c/h2>\n\u003cp>On a recent afternoon, a dozen or so students gather at the San Francisco Conservatory’s Osher Salon, a versatile auditorium with high ceilings and good acoustics, for a class called Composition Workshop with Bajakian. Students and faculty casually refer to the project-based class as “the Sony project” because of the conservatory’s collaboration with the San Mateo-based tech giant.\u003c/p>\n\u003cp>At the beginning of the semester, students visit the Sony Interactive Entertainment headquarters to receive a mock commission to score a fictitious video game. When I sit in on a class in November, the semester is in its last few weeks, and it’s time for students to give each other feedback. Bajakian pulls up iTunes on the projector and plays a few of their compositions.\u003c/p>\n\u003cp>One, with a mischievous, violin- and flute-driven melody snaking through the beat of a bass drum, wouldn’t feel out of place in a \u003cem>Harry Potter\u003c/em> movie. Another builds suspense with minor-key flute piercing through an ominous rumble of orchestral percussion that evokes storm clouds gathering on the horizon.\u003c/p>\n\u003cp>Bajakian opens the floor to the students, several of whom enthusiastically raise their hands to offer feedback to their classmates. The professor encourages the dialogue with validating comments and advice, drawing on music theory concepts when he tells a student to extend a certain instrumental part here or add a section there.\u003c/p>\n\u003cp>By the end of the semester in December, students will have returned to Sony to record their compositions in the company’s studios with a professional orchestra and the help of professional producers and engineers. “Being in that recording studio and grabbing the microphone, I feel like a leader,” says second-year student Qianqian Jin, who took Composition Workshop during the Spring 2017 semester.\u003c/p>\n\u003cfigure id=\"attachment_13826168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826168\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_1241-800x450.jpg\" alt=\"TAC students at the Sony Playstation headquarters in San Mateo.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TAC students at the Sony Playstation headquarters in San Mateo. \u003ccite>(Courtesy of the San Francisco Conservatory of Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Brzytwa, preparing students for jobs in the industry means assembling a classically trained faculty made up of working professionals. A young, sharp-witted university administrator, Brzytwa founded the Oberlin Conservatory’s Professional Development and Outreach Center prior to arriving at SFCM. In addition to Mayer and Bajakian, she recruited \u003ca href=\"http://www.nerdtracks.com/\" target=\"_blank\" rel=\"noopener\">Dren McDonald\u003c/a>, who has scored dozens of indie and big-budget games including \u003cem>Transformers: Age of Extinction\u003c/em> and \u003cem>Gordon Ramsay Dash\u003c/em>; and \u003ca href=\"http://mattlevinemusic.com/about\" target=\"_blank\" rel=\"noopener\">Matt Levine\u003c/a>, who spent a decade as a composer at Sony.\u003c/p>\n\u003cp>“The majority of the faculty might have experience and training in classical music, but they’re not making their living or aspiring towards a career as a classical composer; they’re working composers in media, film, and the video game industry,” says Brzytwa. “They can really teach students how to incorporate electronic materials into a classical context in a way that I don’t think any other program offers in a serious way.”\u003c/p>\n\u003cfigure id=\"attachment_13826174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-800x450.jpg\" alt=\"SFCM students in class with Professor Matt Levine, a former composer at Sony.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SFCM students in class with Professor Matt Levine, a former composer at Sony. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Sony project is only part of the TAC students’ dynamic course load: They take classes on music technology, audio engineering, game audio, and contemporary composition techniques, but their technological curriculum is backed by a robust musical one. In addition to music theory and ear training, they’re required to take courses like Composer at the Keyboard, where they learn piano fundamentals — no technology allowed.\u003c/p>\n\u003cp>The Sony project also isn’t the conservatory’s only collaboration with a major entertainment company. This academic year, second-year students scored a short fashion film as part of the Walt Disney Family Museum’s Teen Animation Festival, and third-year students collaborated with young filmmakers from the San Francisco Film Society.\u003c/p>\n\u003cp>“It creates a bridge for businesses to participate in the Bay Area arts culture,” says Brzytwa.\u003c/p>\n\u003cp>https://youtu.be/HD5JaMXu20c\u003c/p>\n\u003cp>While several other \u003ca href=\"https://usa.sae.edu/programs/audio/audio-technology-diploma/\" target=\"_blank\" rel=\"noopener\">programs\u003c/a> around the state offer training in \u003ca href=\"https://music.usc.edu/departments/music-technology/\" target=\"_blank\" rel=\"noopener\">music and tech\u003c/a>, Brzytwa argues that what sets her program apart is its position in one of the country’s top-ten conservatories — and all the resources that come with that distinction. TAC students collaborate with their highly-skilled instrumentalist peers, for instance, and even record entire orchestras in SFCM’s concert hall, which connects to a 32-channel, analog recording console. When it’s time for them to graduate, they’ll enter the job market with a portfolio of professional-quality soundtrack work.\u003c/p>\n\u003cp>“That was an interesting opportunity that I haven’t seen done at any other school,” she says.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>An Experimental Approach Pays Off\u003c/h2>\n\u003cp>A common complaint in the indie game world is that mainstream game companies often treat music as an afterthought. Perhaps, then, SFCM’s close working relationships with tech giants like Sony have the potential to shift the industry towards more artistic and thought-provoking gaming experiences.\u003c/p>\n\u003cp>\u003ca href=\"http://cabbi.bo/\" target=\"_blank\" rel=\"noopener\">Isaac Cohen\u003c/a>, an indie game developer whose VR works have been featured in the San Francisco Museum of Modern Art, says that an institution like SFCM formally embracing video games lends new legitimacy to the medium.\u003c/p>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-800x450.jpg\" alt=\"Daria Novo and Dren McDonald in the studio.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SFCM instructors Daria Novo and Dren McDonald in the studio.\u003c/figcaption>\u003c/figure>\n\u003cp>“Gaming is such a wide field and, for so long, it’s been looked down upon; when people think of games they either think of \u003cem>Bejeweled\u003c/em> and \u003cem>Candy Crush\u003c/em> or \u003cem>Call of Duty\u003c/em>,” he says. “That would be the equivalent of saying, ‘Oh movies, you know, \u003cem>Transformers\u003c/em> and \u003cem>Blue’s Clues\u003c/em>.’ It’s a much wider range than that. … For something like classical music to recognize video games as a worthwhile art form — that’s what’s the most exciting to me.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.davidkanaga.com/\" target=\"_blank\" rel=\"noopener\">David Kanaga\u003c/a>, a Berkeley-based \u003ca href=\"https://waypoint.vice.com/en_us/article/mg4kpp/david-kanagas-dog-opera-oikospiel-is-delirious-protest-art\" target=\"_blank\" rel=\"noopener\">composer\u003c/a> and game developer known for his audio work on the award-winning indie games \u003cem>Dyad\u003c/em> and \u003cem>Proteus\u003c/em>, says that a program like TAC has the potential to inject the gaming industry with much-needed freshness. By teaching students to compose for games but also allowing them to experiment outside of industry pressures, it could push the medium forward artistically, he says.\u003c/p>\n\u003cp>“Some people don’t like the academia ivory tower kind of thing, but I like it when certain institutions set standards outside of the marketplace,” says Kanaga.\u003c/p>\n\u003cp>“Outside the marketplace” is a good way to describe Brzytwa’s passion for experimental music. She completed her undergraduate studies at Mills College — which has long been at the forefront of experimental music in the Bay Area — and makes avant-garde music that includes improvisation on flute. A hands-on, passionate educator, she’s known to do things like leave \u003ca href=\"https://ww2.kqed.org/arts/2016/11/26/pauline-oliveros-pioneer-of-deep-listening-dies-at-84/\" target=\"_blank\" rel=\"noopener\">Pauline Oliveros\u003c/a> CDs in her students’ practice spaces so that they “accidentally” find them and get inspired.\u003c/p>\n\u003cp>Her creative approach certainly manifests in students’ work. \u003ca href=\"https://www.qianqianjin.net/\" target=\"_blank\" rel=\"noopener\">Qianqian Jin\u003c/a>, for instance, has a background in traditional Chinese music and recently created a sample library of the Guzheng, a horizontal harp-like instrument, that producers can plug into software like Logic Pro and Ableton. And Kris Grant, who performs under the moniker \u003ca href=\"https://soundcloud.com/ideaunsound\" target=\"_blank\" rel=\"noopener\">Idea Unsound\u003c/a>, makes hip-hop and jazz-inspired electronic music in the vein of Flying Lotus. After meeting in the TAC program, Jin and Grant composed a duet combining the Guzheng, keyboard, and electronics, which they performed at Electronic Music Week in Shanghai in October 2017.\u003c/p>\n\u003cfigure id=\"attachment_13826172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826172\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-800x450.jpg\" alt=\"Kristopher Grant and Qianqian Jin performing in Shanghai.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SFCM students Kristopher Grant and Qianqian Jin performing in Shanghai. \u003ccite>(Courtesy of the San Francisco Conservatory of Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the stereotypical conservatory student might be someone whose parents sent them to piano lessons since before they could talk, SFCM’s TAC program has attracted a diverse student body from a variety of backgrounds. Fifty-three-year-old undergrad \u003ca href=\"https://www.npr.org/2017/12/23/573003388/from-skid-row-to-the-san-francisco-conservatory-of-music\" target=\"_blank\" rel=\"noopener\">Ben Shirley\u003c/a>, for instance, was homeless and living in Los Angeles’ Skid Row before turning his life around and enrolling in the program.\u003c/p>\n\u003cp>Professionals from different corners of the music industry often give guest lectures for TAC, which has led to some interesting opportunities for students. Veteran indie rock producer \u003ca href=\"http://www.johnvanderslice.com/\" target=\"_blank\" rel=\"noopener\">John Vanderslice\u003c/a>, \u003cem>Call of Duty\u003c/em> composer \u003ca href=\"http://www.rogetmusic.com/\" target=\"_blank\" rel=\"noopener\">Wilbert Roget\u003c/a>, and experimental producer \u003ca href=\"https://en.wikipedia.org/wiki/Wobbly_(musician)\" target=\"_blank\" rel=\"noopener\">Jon Leidecker\u003c/a> — an expert on the history of electronic music and sampling — have all given small, intimate lectures on campus where they’ve answered students’ questions about making it in the industry.\u003c/p>\n\u003cfigure id=\"attachment_13826169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826169\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/jv-at-sfcm-800x450.jpg\" alt=\"Producer John Vanderslice giving a guest lecture at SFCM.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/jv-at-sfcm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/jv-at-sfcm-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/jv-at-sfcm-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/jv-at-sfcm-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/jv-at-sfcm-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/jv-at-sfcm-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Producer John Vanderslice giving a guest lecture at SFCM. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a networking aspect to guest lecturers as well. \u003ca href=\"https://rosehiporchestra.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Omar Akrouche\u003c/a>, a second-year student with a DIY punk background, landed an internship with Vanderslice’s Tiny Telephone recording studio after meeting him at SFCM. And \u003ca href=\"https://www.darianovo.com/\" target=\"_blank\" rel=\"noopener\">Daria Novo\u003c/a>, a graduate of TAC’s post-graduate professional certification program, recently began working with Professor Dren McDonald at his game audio company, NerdTracks, and took a job at SFCM as a recording engineer and composition instructor.\u003c/p>\n\u003cp>Brzytwa says that her goal is to make students as versatile as possible, so that with their technical mastery and creative openness, they can apply themselves in a variety of music industry contexts.\u003c/p>\n\u003cp>“They could go into production, creative direction, engineering; they could be a music editor — all of that,” she says.\u003c/p>\n\u003cp>“I think the TAC program opens up a gate to let me know there are a lot of different markets, different industries out here,” says Jin. She says she wants to develop an electronic version of the Guzheng and tour as a live performer, but thanks to the program, she has also become passionate about seriously pursuing video game and film audio.\u003c/p>\n\u003cp>“I like being a person,” she says, “who has the capacity to create a world.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13826333\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-800x43.jpg\" alt=\"\" width=\"800\" height=\"43\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-160x9.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-768x41.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-520x28.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 3115,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 48
},
"modified": 1705028328,
"excerpt": "The San Francisco Conservatory of Music embraces video game soundtracks in its curriculum — and despite industry demands, other top music schools have yet to catch up.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The San Francisco Conservatory of Music embraces video game soundtracks in its curriculum — and despite industry demands, other top music schools have yet to catch up.",
"title": "In San Francisco, Video Games Are Classical Music's New Frontier | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In San Francisco, Video Games Are Classical Music's New Frontier",
"datePublished": "2018-03-06T12:00:43-08:00",
"dateModified": "2024-01-11T18:58:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-san-francisco-video-games-are-classical-musics-new-frontier",
"status": "publish",
"sticky": false,
"path": "/arts/13826120/in-san-francisco-video-games-are-classical-musics-new-frontier",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s Friday night at the \u003ca href=\"https://sfcm.edu\" target=\"_blank\" rel=\"noopener\">San Francisco Conservatory of Music\u003c/a> and although classes are over, the building is still bustling with students squeezing in rehearsals before leaving campus for the weekend. As \u003ca href=\"http://www.maryclarebrzytwa.com/\" target=\"_blank\" rel=\"noopener\">MaryClare Brzytwa\u003c/a>, the Executive Director of Technology and Applied Composition, walks down the hall and past the recording studio, she overhears a booming 808 — not a violin or piano, as one might expect at a hundred-year-old classical music institution like this one.\u003c/p>\n\u003cp>Brzytwa opens the door to find \u003ca href=\"https://soundcloud.com/soberseas\" target=\"_blank\" rel=\"noopener\">Jose Soberanes\u003c/a> hunched over a digital workstation in his bright orange beanie. Soberanes isn’t your stereotypical classical music student; for starters, his favorite artist is Travis Scott, the hit-making, psychedelic trap rapper. Since enrolling at the San Francisco Conservatory, he’s interned at Kanye West’s creative agency DONDA and done audio engineering for video games like \u003cem>The Walking Dead: A New Frontier\u003c/em> and \u003cem>Minecraft Story Mode Season 2\u003c/em>.\u003c/p>\n\u003cp>Soberanes is a second-year student in the conservatory’s innovative new program Technology and Applied Composition (TAC), which prepares students for careers in composition for video games, films, and other media. The new undergraduate major (and its adjacent one-year, post-grad professional studies diploma) has only existed at the San Francisco Conservatory of Music (SFCM) since 2015, when Brzytwa spearheaded it, and doesn’t even have a senior class yet. But its students have already produced \u003ca href=\"https://soundcloud.com/sfcmtac\" target=\"_blank\" rel=\"noopener\">cutting-edge, high-profile collaborations\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13826159\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826159\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-800x450.jpg\" alt=\"San Francisco Conservatory of Music student Jose Soberanes in the campus studio.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9727-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Conservatory of Music student Jose Soberanes in the campus studio. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Case in point: Soberanes’ current project is an avant-garde, hip-hop-inspired score for the San Francisco Ballet \u003ca href=\"http://xseed2020.com\" target=\"_blank\" rel=\"noopener\">in collaboration with fellow student Moya Violet\u003c/a>. When Brzytwa enters, he pulls up an audio file to show off their progress. “[The TAC program] has definitely pushed me to be more experimental. I don’t know if it was on purpose,” he says, hitting play on a clip from his composition. A big wave of bass blasts through the speakers; hissing percussion transforms it into a club beat, which he then raps over.\u003c/p>\n\u003cp>Brzytwa laughs. “It \u003cem>definitely\u003c/em> was on purpose,” she answers, visibly proud.\u003c/p>\n\u003cfigure id=\"attachment_13826162\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826162\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/mcb-at-sfcm-800x450.jpg\" alt=\"MaryClare Brzytwa, the San Francisco Conservatory of Music's Associate Dean for New Media and Music Technology, conceptualized the conservatory's new Technology and Applied Composition program.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/mcb-at-sfcm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/mcb-at-sfcm-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/mcb-at-sfcm-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/mcb-at-sfcm-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/mcb-at-sfcm-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/mcb-at-sfcm-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MaryClare Brzytwa, the San Francisco Conservatory of Music’s Associate Dean for New Media and Music Technology, conceptualized the conservatory’s new Technology and Applied Composition program. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With her breadth of musical experience and connections in Silicon Valley, Brzytwa has pushed the San Francisco Conservatory to modernize its curriculum — and the country’s other top classical music schools are still catching up. In the TAC program, technology isn’t solely to enhance more traditional modes of music-making. Instead, it carries the same weight as classical training, and students learn to apply high-level musicianship to the entertainment industry’s real-world demands. That’s not to say that the program is purely technical like at a trade school; instead, Brzytwa fosters an experimental approach on campus and encourages students to pursue creatively challenging projects — like Soberanes’ San Francisco Ballet piece.\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 could call TAC the perfect marriage of technology, classical musicianship, and experimentation. It’s a natural fit for classical musicians who want to write for video games and other applications in the Bay Area’s tech industry. And as its first cohort of undergrads prepares to enter the job market, the program has the potential to set a precedent for conservatories and music programs around the country.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>‘The [Gaming] Industry Needs More Help’\u003c/h2>\n\u003cp>While technology plays a relatively small role at more traditional music schools like Julliard and the New England Conservatory, the San Francisco Conservatory’s Technology and Applied Composition program answers a growing need for composers who specialize in writing for media — and for the Bay Area in particular, that means video games. TAC students take many of the \u003ca href=\"https://sfcm.edu/departments/technology-and-applied-composition/curriculum-tac-undergraduate-students\" target=\"_blank\" rel=\"noopener\">same courses\u003c/a> one might expect from a classical composition major — like ear training and music theory — but they also study game audio, and do mock commissions for Sony and the Walt Disney Family Museum.\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/2FwvWgmK64E'\n title='//www.youtube.com/embed/2FwvWgmK64E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Bay Area is home to video game giants like Sony Interactive Entertainment, Electronic Arts, and Ubisoft. It’s also where you’ll find smaller game audio companies like Bay Area Sound, which, incidentally, was co-founded by SFCM professor Clint Bajakian, a former composer and sound design supervisor at George Lucas’ (now-shuttered) video game company LucasArts. As tech companies vie to make gaming a mainstream form of entertainment — and court demographics \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2014/08/22/adult-women-gamers-outnumber-teenage-boys/?utm_term=.e1444c75d01d\" target=\"_blank\" rel=\"noopener\">outside of the stereotypical gamer bro\u003c/a> — there’s a growing demand for composers who can create music that deepens games’ emotional content and makes their interactive aspects more sensory and vivid.\u003c/p>\n\u003cfigure id=\"attachment_13826165\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826165\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-800x450.jpg\" alt=\"TAC student Thomas Soto demos a VR game for which fellow student Niko Korolog composed the soundtrack.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/TAC-Student-Thomas-Soto-is-demoing-a-VR-game-for-which-fellow-student-Niko-Korolog-composed-the-soundtrack-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TAC student Thomas Soto demos a VR game for which fellow student Niko Korolog composed the soundtrack. \u003ccite>(Courtesy of the San Francisco Conservatory of Music.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Video game music has come a long way from the chiptune soundtracks of early Nintendo games like \u003cem>Super Mario Bros\u003c/em>, which typically consisted of little more than a few loops of computer melody. Today, video game soundtracks have evolved to be as varied and complex as those in film. Popular adventure games like \u003ca href=\"https://www.youtube.com/watch?v=_q51LZ2HpbE\" target=\"_blank\" rel=\"noopener\">\u003cem>Star Wars: Battlefront II\u003c/em>\u003c/a>, for instance, build drama through epic orchestral arrangements. \u003ca href=\"https://www.youtube.com/watch?v=n4IPBiB7SF4\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Night\u003c/em>\u003c/a>, one of this year’s most anticipated indie games, immerses players in a futuristic cyberpunk world via ’80s-inspired synthpop.\u003c/p>\n\u003cp>As games that prioritize storytelling over action continue to rise in popularity, music can play an even more crucial role in conveying their emotional content. For instance, one of the most critically acclaimed games of 2016, \u003ca href=\"https://www.nytimes.com/2016/03/17/arts/video-games/video-games-where-hearts-not-guns-drive-the-action.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Firewatch\u003c/em>\u003c/a> (from San Francisco studio Campo Santo), tells the story of a Wyoming man who takes a job in the wilderness as his wife struggles with Alzheimer’s. A somber, guitar-driven soundtrack of folk, country, and bluegrass underscores the game’s rural environment and wistful tone.\u003c/p>\n\u003cp>“The industry needs more help; the scope and the scale of a lot of these projects have gotten to be such that you can’t just have the audio person handle all the audio for a game,” says Jonathan Mayer, a visiting lecturer at SFCM who previously served as music director at Sony Playstation and currently works in sound design at Facebook. “Something as simple as getting a gig assisting a bigger-name composer — those jobs are really important and require a more technical knowledge because they’re helping more established composers bridge this gap right now.”\u003c/p>\n\u003cfigure id=\"attachment_13826166\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826166\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-800x450.jpg\" alt=\"Jonathan Mayer, former music director at Sony Playstation, is a visiting lecturer at SFCM.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9803-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Mayer, former music director at Sony Playstation, is a visiting lecturer at SFCM. \u003ccite>(Kristina Bakrevski )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to a Bureau of Labor Statistics study, music director and composer jobs \u003ca href=\"https://www.gamesoundcon.com/composer-employment-report\" target=\"_blank\" rel=\"noopener\">increased by 154 percent from 2004 to 2015\u003c/a>, and are projected to grow by \u003ca href=\"https://www.msn.com/en-us/money/markets/americas-fastest-growing-and-fastest-shrinking-jobs/ar-AAdVab7#page=10\" target=\"_blank\" rel=\"noopener\">an additional 4.5 percent\u003c/a> through 2022.\u003c/p>\n\u003cp>Part of that growth can be attributed to the gaming industry, which has sizably increased over the past decade with new games on the Apple App store and Facebook, as well as expansions in mainstream and indie studios. According to the Entertainment Software Association, the video game industry went from employing \u003ca href=\"http://www.theesa.com/article/u-s-video-game-industrys-growth-outpaces-national-economy/\" target=\"_blank\" rel=\"noopener\">80,000 people\u003c/a> in 2007 to \u003ca href=\"http://www.theesa.com/article/u-s-video-game-industry-expands-50-states-supporting-220000-jobs-30-4-billion-revenue/\" target=\"_blank\" rel=\"noopener\">over 220,000\u003c/a> in 2017.\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0048005/?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">Clint Bajakian\u003c/a>, whose composition and sound design credits include major game franchises like \u003cem>Star Wars\u003c/em>, \u003cem>God of War\u003c/em>, and \u003cem>Indiana Jones\u003c/em>, has observed an explosion of audio jobs in the gaming industry over the course of his 26-year career. But he says most conservatories are still focused primarily on live performance, despite students’ growing interest in tech.\u003c/p>\n\u003cp>As Bajakian sees it, conservatories of music “can be wary of introducing new ways of technology, new ways of doing things, because they’re concerned that the tradition of excellence that goes back hundreds of years might be threatened.”\u003c/p>\n\u003cfigure id=\"attachment_13826167\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826167\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-800x450.jpg\" alt=\"SFCM professor Clint Bajakian, a veteran composer who has done audio for game franchises like 'God of War' and 'Star Wars,' in a private lesson with a student.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb22_KQED-SFCM_9693-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SFCM professor Clint Bajakian, a veteran composer who has done audio for game franchises like ‘God of War’ and ‘Star Wars,’ in a private lesson with a student. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a result, most conservatory graduates who aspire to work in video games and film have to learn on the job — which comes with limitations.\u003c/p>\n\u003cp>“Not many composers that I’ve worked with so far over the past couple decades could come to meeting with a game developer and speak the language of how the music is going to work in the game,” says Mayer. “So what TAC is doing that’s really smart is giving them more of a grounding in fundamental concepts and methodologies that will very easily transfer from format to format.”\u003c/p>\n\u003cp>“I think over time,” says Bajakian, “we will see more conservatories embracing this.”\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Modernizing the Conservatory Curriculum\u003c/h2>\n\u003cp>On a recent afternoon, a dozen or so students gather at the San Francisco Conservatory’s Osher Salon, a versatile auditorium with high ceilings and good acoustics, for a class called Composition Workshop with Bajakian. Students and faculty casually refer to the project-based class as “the Sony project” because of the conservatory’s collaboration with the San Mateo-based tech giant.\u003c/p>\n\u003cp>At the beginning of the semester, students visit the Sony Interactive Entertainment headquarters to receive a mock commission to score a fictitious video game. When I sit in on a class in November, the semester is in its last few weeks, and it’s time for students to give each other feedback. Bajakian pulls up iTunes on the projector and plays a few of their compositions.\u003c/p>\n\u003cp>One, with a mischievous, violin- and flute-driven melody snaking through the beat of a bass drum, wouldn’t feel out of place in a \u003cem>Harry Potter\u003c/em> movie. Another builds suspense with minor-key flute piercing through an ominous rumble of orchestral percussion that evokes storm clouds gathering on the horizon.\u003c/p>\n\u003cp>Bajakian opens the floor to the students, several of whom enthusiastically raise their hands to offer feedback to their classmates. The professor encourages the dialogue with validating comments and advice, drawing on music theory concepts when he tells a student to extend a certain instrumental part here or add a section there.\u003c/p>\n\u003cp>By the end of the semester in December, students will have returned to Sony to record their compositions in the company’s studios with a professional orchestra and the help of professional producers and engineers. “Being in that recording studio and grabbing the microphone, I feel like a leader,” says second-year student Qianqian Jin, who took Composition Workshop during the Spring 2017 semester.\u003c/p>\n\u003cfigure id=\"attachment_13826168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826168\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_1241-800x450.jpg\" alt=\"TAC students at the Sony Playstation headquarters in San Mateo.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_1241-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TAC students at the Sony Playstation headquarters in San Mateo. \u003ccite>(Courtesy of the San Francisco Conservatory of Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Brzytwa, preparing students for jobs in the industry means assembling a classically trained faculty made up of working professionals. A young, sharp-witted university administrator, Brzytwa founded the Oberlin Conservatory’s Professional Development and Outreach Center prior to arriving at SFCM. In addition to Mayer and Bajakian, she recruited \u003ca href=\"http://www.nerdtracks.com/\" target=\"_blank\" rel=\"noopener\">Dren McDonald\u003c/a>, who has scored dozens of indie and big-budget games including \u003cem>Transformers: Age of Extinction\u003c/em> and \u003cem>Gordon Ramsay Dash\u003c/em>; and \u003ca href=\"http://mattlevinemusic.com/about\" target=\"_blank\" rel=\"noopener\">Matt Levine\u003c/a>, who spent a decade as a composer at Sony.\u003c/p>\n\u003cp>“The majority of the faculty might have experience and training in classical music, but they’re not making their living or aspiring towards a career as a classical composer; they’re working composers in media, film, and the video game industry,” says Brzytwa. “They can really teach students how to incorporate electronic materials into a classical context in a way that I don’t think any other program offers in a serious way.”\u003c/p>\n\u003cfigure id=\"attachment_13826174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-800x450.jpg\" alt=\"SFCM students in class with Professor Matt Levine, a former composer at Sony.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2255-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SFCM students in class with Professor Matt Levine, a former composer at Sony. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Sony project is only part of the TAC students’ dynamic course load: They take classes on music technology, audio engineering, game audio, and contemporary composition techniques, but their technological curriculum is backed by a robust musical one. In addition to music theory and ear training, they’re required to take courses like Composer at the Keyboard, where they learn piano fundamentals — no technology allowed.\u003c/p>\n\u003cp>The Sony project also isn’t the conservatory’s only collaboration with a major entertainment company. This academic year, second-year students scored a short fashion film as part of the Walt Disney Family Museum’s Teen Animation Festival, and third-year students collaborated with young filmmakers from the San Francisco Film Society.\u003c/p>\n\u003cp>“It creates a bridge for businesses to participate in the Bay Area arts culture,” says Brzytwa.\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/HD5JaMXu20c'\n title='//www.youtube.com/embed/HD5JaMXu20c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While several other \u003ca href=\"https://usa.sae.edu/programs/audio/audio-technology-diploma/\" target=\"_blank\" rel=\"noopener\">programs\u003c/a> around the state offer training in \u003ca href=\"https://music.usc.edu/departments/music-technology/\" target=\"_blank\" rel=\"noopener\">music and tech\u003c/a>, Brzytwa argues that what sets her program apart is its position in one of the country’s top-ten conservatories — and all the resources that come with that distinction. TAC students collaborate with their highly-skilled instrumentalist peers, for instance, and even record entire orchestras in SFCM’s concert hall, which connects to a 32-channel, analog recording console. When it’s time for them to graduate, they’ll enter the job market with a portfolio of professional-quality soundtrack work.\u003c/p>\n\u003cp>“That was an interesting opportunity that I haven’t seen done at any other school,” she says.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>An Experimental Approach Pays Off\u003c/h2>\n\u003cp>A common complaint in the indie game world is that mainstream game companies often treat music as an afterthought. Perhaps, then, SFCM’s close working relationships with tech giants like Sony have the potential to shift the industry towards more artistic and thought-provoking gaming experiences.\u003c/p>\n\u003cp>\u003ca href=\"http://cabbi.bo/\" target=\"_blank\" rel=\"noopener\">Isaac Cohen\u003c/a>, an indie game developer whose VR works have been featured in the San Francisco Museum of Modern Art, says that an institution like SFCM formally embracing video games lends new legitimacy to the medium.\u003c/p>\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-800x450.jpg\" alt=\"Daria Novo and Dren McDonald in the studio.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Feb16_KQED-SFCM_2352-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SFCM instructors Daria Novo and Dren McDonald in the studio.\u003c/figcaption>\u003c/figure>\n\u003cp>“Gaming is such a wide field and, for so long, it’s been looked down upon; when people think of games they either think of \u003cem>Bejeweled\u003c/em> and \u003cem>Candy Crush\u003c/em> or \u003cem>Call of Duty\u003c/em>,” he says. “That would be the equivalent of saying, ‘Oh movies, you know, \u003cem>Transformers\u003c/em> and \u003cem>Blue’s Clues\u003c/em>.’ It’s a much wider range than that. … For something like classical music to recognize video games as a worthwhile art form — that’s what’s the most exciting to me.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.davidkanaga.com/\" target=\"_blank\" rel=\"noopener\">David Kanaga\u003c/a>, a Berkeley-based \u003ca href=\"https://waypoint.vice.com/en_us/article/mg4kpp/david-kanagas-dog-opera-oikospiel-is-delirious-protest-art\" target=\"_blank\" rel=\"noopener\">composer\u003c/a> and game developer known for his audio work on the award-winning indie games \u003cem>Dyad\u003c/em> and \u003cem>Proteus\u003c/em>, says that a program like TAC has the potential to inject the gaming industry with much-needed freshness. By teaching students to compose for games but also allowing them to experiment outside of industry pressures, it could push the medium forward artistically, he says.\u003c/p>\n\u003cp>“Some people don’t like the academia ivory tower kind of thing, but I like it when certain institutions set standards outside of the marketplace,” says Kanaga.\u003c/p>\n\u003cp>“Outside the marketplace” is a good way to describe Brzytwa’s passion for experimental music. She completed her undergraduate studies at Mills College — which has long been at the forefront of experimental music in the Bay Area — and makes avant-garde music that includes improvisation on flute. A hands-on, passionate educator, she’s known to do things like leave \u003ca href=\"https://ww2.kqed.org/arts/2016/11/26/pauline-oliveros-pioneer-of-deep-listening-dies-at-84/\" target=\"_blank\" rel=\"noopener\">Pauline Oliveros\u003c/a> CDs in her students’ practice spaces so that they “accidentally” find them and get inspired.\u003c/p>\n\u003cp>Her creative approach certainly manifests in students’ work. \u003ca href=\"https://www.qianqianjin.net/\" target=\"_blank\" rel=\"noopener\">Qianqian Jin\u003c/a>, for instance, has a background in traditional Chinese music and recently created a sample library of the Guzheng, a horizontal harp-like instrument, that producers can plug into software like Logic Pro and Ableton. And Kris Grant, who performs under the moniker \u003ca href=\"https://soundcloud.com/ideaunsound\" target=\"_blank\" rel=\"noopener\">Idea Unsound\u003c/a>, makes hip-hop and jazz-inspired electronic music in the vein of Flying Lotus. After meeting in the TAC program, Jin and Grant composed a duet combining the Guzheng, keyboard, and electronics, which they performed at Electronic Music Week in Shanghai in October 2017.\u003c/p>\n\u003cfigure id=\"attachment_13826172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826172\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-800x450.jpg\" alt=\"Kristopher Grant and Qianqian Jin performing in Shanghai.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/3-Kristopher-Grant-and-Qianqian-Jin-Courtesy-of-the-San-Francisco-Conservatory-of-Music-copy-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SFCM students Kristopher Grant and Qianqian Jin performing in Shanghai. \u003ccite>(Courtesy of the San Francisco Conservatory of Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the stereotypical conservatory student might be someone whose parents sent them to piano lessons since before they could talk, SFCM’s TAC program has attracted a diverse student body from a variety of backgrounds. Fifty-three-year-old undergrad \u003ca href=\"https://www.npr.org/2017/12/23/573003388/from-skid-row-to-the-san-francisco-conservatory-of-music\" target=\"_blank\" rel=\"noopener\">Ben Shirley\u003c/a>, for instance, was homeless and living in Los Angeles’ Skid Row before turning his life around and enrolling in the program.\u003c/p>\n\u003cp>Professionals from different corners of the music industry often give guest lectures for TAC, which has led to some interesting opportunities for students. Veteran indie rock producer \u003ca href=\"http://www.johnvanderslice.com/\" target=\"_blank\" rel=\"noopener\">John Vanderslice\u003c/a>, \u003cem>Call of Duty\u003c/em> composer \u003ca href=\"http://www.rogetmusic.com/\" target=\"_blank\" rel=\"noopener\">Wilbert Roget\u003c/a>, and experimental producer \u003ca href=\"https://en.wikipedia.org/wiki/Wobbly_(musician)\" target=\"_blank\" rel=\"noopener\">Jon Leidecker\u003c/a> — an expert on the history of electronic music and sampling — have all given small, intimate lectures on campus where they’ve answered students’ questions about making it in the industry.\u003c/p>\n\u003cfigure id=\"attachment_13826169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826169\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/jv-at-sfcm-800x450.jpg\" alt=\"Producer John Vanderslice giving a guest lecture at SFCM.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/jv-at-sfcm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/jv-at-sfcm-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/jv-at-sfcm-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/jv-at-sfcm-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/jv-at-sfcm-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/jv-at-sfcm-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Producer John Vanderslice giving a guest lecture at SFCM. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a networking aspect to guest lecturers as well. \u003ca href=\"https://rosehiporchestra.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Omar Akrouche\u003c/a>, a second-year student with a DIY punk background, landed an internship with Vanderslice’s Tiny Telephone recording studio after meeting him at SFCM. And \u003ca href=\"https://www.darianovo.com/\" target=\"_blank\" rel=\"noopener\">Daria Novo\u003c/a>, a graduate of TAC’s post-graduate professional certification program, recently began working with Professor Dren McDonald at his game audio company, NerdTracks, and took a job at SFCM as a recording engineer and composition instructor.\u003c/p>\n\u003cp>Brzytwa says that her goal is to make students as versatile as possible, so that with their technical mastery and creative openness, they can apply themselves in a variety of music industry contexts.\u003c/p>\n\u003cp>“They could go into production, creative direction, engineering; they could be a music editor — all of that,” she says.\u003c/p>\n\u003cp>“I think the TAC program opens up a gate to let me know there are a lot of different markets, different industries out here,” says Jin. She says she wants to develop an electronic version of the Guzheng and tour as a live performer, but thanks to the program, she has also become passionate about seriously pursuing video game and film audio.\u003c/p>\n\u003cp>“I like being a person,” she says, “who has the capacity to create a world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13826333\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-800x43.jpg\" alt=\"\" width=\"800\" height=\"43\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-160x9.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-768x41.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-520x28.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13826120/in-san-francisco-video-games-are-classical-musics-new-frontier",
"authors": [
"11387"
],
"categories": [
"arts_69"
],
"tags": [
"arts_15393",
"arts_1312",
"arts_1118",
"arts_5849",
"arts_596",
"arts_4149"
],
"featImg": "arts_13826175",
"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=video-games": {
"isFetching": false,
"latestQuery": {
"from": 36,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 2,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 38,
"relation": "eq"
},
"items": [
"arts_13827545",
"arts_13826120"
],
"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_video-games": {
"isLoading": true
},
"arts_4149": {
"type": "terms",
"id": "arts_4149",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4149",
"found": true
},
"relationships": {},
"featImg": null,
"name": "video games",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "video games Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4161,
"slug": "video-games",
"isLoading": false,
"link": "/arts/tag/video-games"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_4642": {
"type": "terms",
"id": "arts_4642",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4642",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Rachael Myrow",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Rachael Myrow Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4654,
"slug": "rachael-myrow",
"isLoading": false,
"link": "/arts/tag/rachael-myrow"
},
"arts_3001": {
"type": "terms",
"id": "arts_3001",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3001",
"found": true
},
"relationships": {},
"featImg": null,
"name": "silicon valley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "silicon valley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3013,
"slug": "silicon-valley",
"isLoading": false,
"link": "/arts/tag/silicon-valley"
},
"arts_1935": {
"type": "terms",
"id": "arts_1935",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1935",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tech",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tech Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1947,
"slug": "tech",
"isLoading": false,
"link": "/arts/tag/tech"
},
"arts_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_15393": {
"type": "terms",
"id": "arts_15393",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15393",
"found": true
},
"relationships": {},
"featImg": null,
"name": "classical",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "classical Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15405,
"slug": "classical",
"isLoading": false,
"link": "/arts/tag/classical"
},
"arts_1312": {
"type": "terms",
"id": "arts_1312",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1312",
"found": true
},
"relationships": {},
"featImg": null,
"name": "classical music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Immerse yourself in the Bay Area's rich classical music world! KQED brings you news, educational resources, and event listings.",
"metaRobotsNoIndex": "index",
"title": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogDescription": null
},
"ttid": 1324,
"slug": "classical-music",
"isLoading": false,
"link": "/arts/tag/classical-music"
},
"arts_5849": {
"type": "terms",
"id": "arts_5849",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5849",
"found": true
},
"relationships": {},
"featImg": null,
"name": "long",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "long Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5861,
"slug": "long",
"isLoading": false,
"link": "/arts/tag/long"
}
},
"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
}
}
