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
}
}
},
"news_11684502": {
"type": "attachments",
"id": "news_11684502",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11684502",
"found": true
},
"parent": 11684469,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-520x347.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 347
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-1200x800.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 800
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32183__images_uploads_gallery_jdg-qut-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1533250673,
"modified": 1533333292,
"caption": "Dave Alvin and Jimmie Dale Gilmore.",
"description": "Dave Alvin and Jimmie Dale Gilmore.",
"title": "RS32183__images_uploads_gallery_jdg-qut",
"credit": "Daniel Jackson",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_11693827": {
"type": "attachments",
"id": "news_11693827",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11693827",
"found": true
},
"parent": 11693821,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-520x390.jpeg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-1038x576.jpeg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-160x120.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-960x719.jpeg",
"width": 960,
"mimeType": "image/jpeg",
"height": 719
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-375x281.jpeg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo.jpeg",
"width": 1520,
"height": 1139
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-1020x764.jpeg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 764
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-1180x884.jpeg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 884
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-1200x899.jpeg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 899
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-50x50.jpeg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-96x96.jpeg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-800x599.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 599
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-64x64.jpeg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-32x32.jpeg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-1180x884.jpeg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 884
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-150x150.jpeg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-128x128.jpeg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/09/3-AC-Parushas-AC-photo-240x180.jpeg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1537494863,
"modified": 1538175255,
"caption": "A portrait of Alice Coltrane hangs in the home of musician Purusha Hickson. Coltrane gave Hickson, a longtime member of her ashram, the photo before her death in 2007.",
"description": null,
"title": "3 AC Parushas AC photo",
"credit": "Steven Cuevas/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_11687346": {
"type": "attachments",
"id": "news_11687346",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11687346",
"found": true
},
"parent": 11687342,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534528147438.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/08/aretha-tribute-e1534489627174-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1534489515,
"modified": 1534489592,
"caption": "By the evening on August 16, 2018, Aretha Franklin's star on the Hollywood Walk of Fame was almost completely submerged under floral tributes from adoring fans.",
"description": "By the evening on August 16, 2018, Aretha Franklin's star on the Hollywood Walk of Fame was almost completely submerged under floral tributes from adoring fans.",
"title": "aretha tribute",
"credit": "Chloe Veltman/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_11669517": {
"type": "attachments",
"id": "news_11669517",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11669517",
"found": true
},
"parent": 11669512,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-520x381.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 381
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-160x117.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 117
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-960x704.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 704
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-375x275.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 275
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386.jpg",
"width": 1920,
"height": 1408
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-1020x748.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 748
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-1180x865.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 865
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-1200x880.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 880
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-800x587.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 587
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-1920x1408.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1408
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-1180x865.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 865
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-1920x1408.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1408
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31064_Image-uploaded-from-iOS-13-qut-e1526862867386-240x176.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 176
}
},
"publishDate": 1526845446,
"modified": 1526862911,
"caption": "Benny Dayal performs at the Gaana Music Festival in Mountain View. He says his musical influences are Michael Jackson, Earth Wind and Fire and Bruno Mars, \"but we try to keep it as Indian as possible,\" he says.",
"description": "Benny Dayal performs at the Gaana Music Festival in Mountain View. He says his musical influences are Michael Jackson, Earth Wind and Fire and Bruno Mars, \"but we try to keep it as Indian as possible,\" he says.",
"title": "RS31064_Image uploaded from iOS (13)-qut",
"credit": "Caroline Champlin/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_11667788": {
"type": "attachments",
"id": "news_11667788",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11667788",
"found": true
},
"parent": 11667569,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-520x780.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 780
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-160x240.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 240
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-960x1440.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 1440
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-375x563.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 563
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut.jpg",
"width": 1920,
"height": 2880
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-1020x1530.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 1530
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-1180x1770.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 1770
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-800x1200.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 1200
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-800x1200.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 1200
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-1920x2880.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 2880
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-1180x1770.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 1770
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-1920x2880.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 2880
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS30905_Megan-Keely-Photo-Credit-Nicola-Parisi-qut-240x360.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 360
}
},
"publishDate": 1526060180,
"modified": 1526079789,
"caption": "Megan Keely's fourth album comes out May 25th. ",
"description": "Megan Keely's fourth album comes out May 25th. ",
"title": "RS30905_Megan-Keely-Photo Credit-Nicola-Parisi-qut",
"credit": "Nicola-Parisi",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_11662455": {
"type": "attachments",
"id": "news_11662455",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11662455",
"found": true
},
"parent": 11662453,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-520x331.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 331
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-160x102.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 102
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-960x610.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 610
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-375x238.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 238
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208.jpg",
"width": 1708,
"height": 1086
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-1020x649.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 649
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-1180x750.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 750
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-1200x763.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 763
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-800x509.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 509
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-1180x750.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 750
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/04/GettyImages-946416208-240x153.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 153
}
},
"publishDate": 1523818260,
"modified": 1523818303,
"caption": "Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. ",
"description": "Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. ",
"title": "2018 Coachella Valley Music And Arts Festival - Weekend 1 - Day 2",
"credit": "Kevin Winter/Getty Images for Coachella",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_11643811": {
"type": "attachments",
"id": "news_11643811",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11643811",
"found": true
},
"parent": 11643794,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-520x347.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 347
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28970_dscf53305_warmer_full-qut-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1516747565,
"modified": 1517618134,
"caption": "Musician Inara George explores death, aging and family in her new and surprisingly upbeat album.",
"description": "Musician Inara George explores death, aging, and family in her new and surprisingly upbeat album.",
"title": "RS28970_dscf53305_warmer_full-qut",
"credit": "Alexa Nikol Curran",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_11644596": {
"type": "attachments",
"id": "news_11644596",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11644596",
"found": true
},
"parent": 11644364,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut.jpg",
"width": 1920,
"height": 1440
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1516996323,
"modified": 1517007646,
"caption": "Grammy nominee and assistant professor Adam Schoenberg in his studio at Occidental College.",
"description": "Grammy nominee and assistant professor Adam Schoenberg in his studio at Occidental College.",
"title": "RS29028_Schoenberg 1-qut",
"credit": "Peter Gilstrap/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_11642040": {
"type": "attachments",
"id": "news_11642040",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11642040",
"found": true
},
"parent": 11642039,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-e1515984012221.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/figureskater_wide-4057165d0e972e68347f25e1f1cc471ce48a38a6-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1515983231,
"modified": 1515983999,
"caption": "Jason Brown competed in the men's short program during the 2018 U.S. Figure Skating Championships in San Jose, Calif., with a song from Hamilton, the musical.",
"description": "Jason Brown competed in the men's short program during the 2018 U.S. Figure Skating Championships in San Jose, Calif., with a song from \u003cem>Hamilton,\u003c/em> the musical.",
"title": "Jason Brown competed in the men's short program during the 2018 U.S. Figure Skating Championships in San Jose, Calif., with a song from Hamilton, the musical.",
"credit": "Matthew Stockman/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_11641437": {
"type": "attachments",
"id": "news_11641437",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11641437",
"found": true
},
"parent": 11641425,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2018/01/RS28840_InCar2-qut-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1515694432,
"modified": 1515695405,
"caption": "Ashel Eldridge calls himself the Lyft Rapper, freestyling for passengers about goofy topics and more serious issues.",
"description": null,
"title": "RS28840_InCar2-qut",
"credit": "Ashel Eldridge",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_11636122": {
"type": "attachments",
"id": "news_11636122",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11636122",
"found": true
},
"parent": 11636121,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico.jpg",
"width": 2048,
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/12/Calonico-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1512871214,
"modified": 1513034285,
"caption": "Dr. Robert Calonico sits in his UC Berkeley office on Friday, Dec. 8, 2017.",
"description": null,
"title": "Calonico",
"credit": "Jeremy Siegel/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_11633014": {
"type": "attachments",
"id": "news_11633014",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11633014",
"found": true
},
"parent": 11632699,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-520x374.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 374
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-160x115.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 115
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-960x690.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 690
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-375x269.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 269
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-e1511380297663.jpg",
"width": 1920,
"height": 1379
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-1020x733.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 733
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-1180x848.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 848
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-800x575.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 575
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-1920x1379.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1379
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-1180x848.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 848
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-1920x1379.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1379
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2017/11/band2-240x172.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 172
}
},
"publishDate": 1511380165,
"modified": 1511382777,
"caption": "Walter Morgan Jr. performs in the KQED studios on Nov. 21, 2017. He founded the Sons of the Soul Revivers in 1970. He and his brothers have been singing together ever since they were kids in church. They are now finally reaching audiences outside the church walls.",
"description": null,
"title": "band2",
"credit": "Sarah Craig/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_news_11662453": {
"type": "authors",
"id": "byline_news_11662453",
"meta": {
"override": true
},
"slug": "byline_news_11662453",
"name": "Associated Press",
"isLoading": false
},
"byline_news_11642039": {
"type": "authors",
"id": "byline_news_11642039",
"meta": {
"override": true
},
"slug": "byline_news_11642039",
"name": "\u003cstrong/>Wynne Davis\u003c/strong>",
"isLoading": false
},
"byline_news_11641425": {
"type": "authors",
"id": "byline_news_11641425",
"meta": {
"override": true
},
"slug": "byline_news_11641425",
"name": "Allen Young",
"isLoading": false
},
"sracho": {
"type": "authors",
"id": "107",
"meta": {
"index": "authors_1716337520",
"id": "107",
"found": true
},
"name": "Suzie Racho",
"firstName": "Suzie",
"lastName": "Racho",
"slug": "sracho",
"email": "SRacho@KQED.org",
"display_author_email": false,
"staff_mastheads": [
"news"
],
"title": "KQED Contributor",
"bio": "Suzie Racho is a correspondent-producer with \u003cem>The California Report Magazine\u003c/em>\u003cem>. S\u003c/em>he has also worked with several other KQED productions, including Bay Curious, Truth Be Told, The Do List and KQED News.\r\n\r\nSuzie came to KQED in 1996 after receiving a BA in journalism from San Francisco State University and spending several years working in the music industry. As part of \u003cem>The California Report\u003c/em> team, her work has been recognized by the Society for Professional Journalists, National Federation of Community Broadcasters and Public Radio News Directors Incorporated, among others. She was recognized with a national Gracie Award in 2019. She spends her free time baking, listening to K-pop and rooting for the Giants and Valkyries.",
"avatar": "https://secure.gravatar.com/avatar/842e457a9830b0f3c1ce3ab70ed3518d616d1e25e315c6292eab8cd611d98601?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Suzie Racho | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/842e457a9830b0f3c1ce3ab70ed3518d616d1e25e315c6292eab8cd611d98601?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/842e457a9830b0f3c1ce3ab70ed3518d616d1e25e315c6292eab8cd611d98601?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/sracho"
},
"sasha-khokha": {
"type": "authors",
"id": "254",
"meta": {
"index": "authors_1716337520",
"id": "254",
"found": true
},
"name": "Sasha Khokha",
"firstName": "Sasha",
"lastName": "Khokha",
"slug": "sasha-khokha",
"email": "skhokha@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Host, The California Report Magazine",
"bio": "Sasha Khokha is the host of \u003cem>The California Report's \u003c/em> weekly magazine program, which takes listeners on sound-rich excursions to meet the people that make the Golden State unique -- through audio documentaries and long-form stories. As \u003cem>The California Report's\u003c/em> Central Valley Bureau Chief based in Fresno for nearly a dozen years, Sasha brought the lives and concerns of rural Californians to listeners around the state. Her reporting helped expose the hidden price immigrant women janitors and farmworkers may pay to keep their jobs: sexual assault at work. It inspired two new California laws to protect them from sexual harassment. She was a key member of the reporting team for the Frontline film \u003cem>Rape on the Night Shift, \u003c/em>which was nominated for two national Emmys. Sasha has also won a national Edward R. Murrow and a national PRNDI award for investigative reporting, as well as multiple prizes from the Society for Professional Journalists. Sasha is a proud alum of the UC Berkeley Graduate School of Journalism and Brown University and a member of the South Asian Journalists Association.",
"avatar": "https://secure.gravatar.com/avatar/e4b5e1541aaeea2aa356aa1fb2a68950?s=600&d=blank&r=g",
"twitter": "KQEDSashaKhokha",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"author"
]
},
{
"site": "science",
"roles": [
"author"
]
},
{
"site": "quest",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Sasha Khokha | KQED",
"description": "Host, The California Report Magazine",
"ogImgSrc": "https://secure.gravatar.com/avatar/e4b5e1541aaeea2aa356aa1fb2a68950?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/e4b5e1541aaeea2aa356aa1fb2a68950?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/sasha-khokha"
},
"scuevas": {
"type": "authors",
"id": "2600",
"meta": {
"index": "authors_1716337520",
"id": "2600",
"found": true
},
"name": "Steven Cuevas",
"firstName": "Steven",
"lastName": "Cuevas",
"slug": "scuevas",
"email": "scuevas@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Steven is a former Los Angeles bureau chief for The California Report.\r\n\r\nHe reports on an array of issues across the Southland, from immigration and regional politics to religion, the performing arts and pop culture.\r\n\r\nPrior to joining KQED in 2012, Steven covered Inland southern California for KPCC in Pasadena. He also helped establish the first newsroom at \u003ca href=\"http://kut.org/\">KUT\u003c/a> in Austin, Texas where he was a general assignment reporter.\r\n\r\nSteven has received numerous awards for his reporting including an RTNDA Edward R. Murrow Award for investigative reporting in addition to awards from the LA Press Club, the Associated Press and the Society for Professional Journalists.\r\n\r\nSteven grew up in and around San Francisco and now lives in Pasadena just a short jog from the foot of the San Gabriel Mountains.",
"avatar": "https://secure.gravatar.com/avatar/bbb0bb7b496f83ab350e23ad0dc7c81c?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"contributor"
]
},
{
"site": "stateofhealth",
"roles": [
"author"
]
}
],
"headData": {
"title": "Steven Cuevas | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bbb0bb7b496f83ab350e23ad0dc7c81c?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bbb0bb7b496f83ab350e23ad0dc7c81c?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/scuevas"
},
"cveltman": {
"type": "authors",
"id": "8608",
"meta": {
"index": "authors_1716337520",
"id": "8608",
"found": true
},
"name": "Chloe Veltman",
"firstName": "Chloe",
"lastName": "Veltman",
"slug": "cveltman",
"email": "cveltman@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Arts and Culture Reporter",
"bio": "Chloe Veltman is a former arts and culture reporter for KQED. Prior to joining the organization, she launched and led the arts bureau at Colorado Public Radio, served as the Bay Area's culture columnist for the New York Times, and was the founder, host and executive producer of VoiceBox, a national award-winning weekly podcast/radio show and live events series all about the human voice. Chloe is the recipient of numerous prizes, grants and fellowships including a Webby Award for her work on interactive storytelling, both the John S Knight Journalism Fellowship and Humanities Center Fellowship at Stanford University, the Sundance Arts Writing Fellowship and a Library of Congress Research Fellowship. She is the author of the book \"On Acting\" and has appeared as a guest lecturer at Yale University and the San Francisco Conservatory of Music among other institutions. She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twitter": "chloeveltman",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": []
}
],
"headData": {
"title": "Chloe Veltman | KQED",
"description": "Arts and Culture Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cveltman"
},
"jeremysiegel": {
"type": "authors",
"id": "11258",
"meta": {
"index": "authors_1716337520",
"id": "11258",
"found": true
},
"name": "Jeremy Siegel",
"firstName": "Jeremy",
"lastName": "Siegel",
"slug": "jeremysiegel",
"email": "jsiegel@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Jeremy Siegel is is the weekend afternoon news anchor for KQED. His reporting can be heard on KQED News, Morning Edition, All Things Considered and The California Report. Jeremy's coverage of the Camp Fire in Butte County won the 2019 Society of Professional Journalists, Northern California Chapter, Excellence in Journalism Award for Breaking News. Jeremy grew up in Cincinnati, Ohio, and graduated from UC Berkeley.",
"avatar": "https://secure.gravatar.com/avatar/3921a64ceb9ed5d0ba47d9ae9782f1ab?s=600&d=blank&r=g",
"twitter": "jersiegel",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": []
}
],
"headData": {
"title": "Jeremy Siegel | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/3921a64ceb9ed5d0ba47d9ae9782f1ab?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3921a64ceb9ed5d0ba47d9ae9782f1ab?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jeremysiegel"
},
"pgilstrap": {
"type": "authors",
"id": "11275",
"meta": {
"index": "authors_1716337520",
"id": "11275",
"found": true
},
"name": "Peter Gilstrap",
"firstName": "Peter",
"lastName": "Gilstrap",
"slug": "pgilstrap",
"email": "pgilstrap@sbcglobal.net",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/2bf93e4a8c1e35493845045175273916?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Peter Gilstrap | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/2bf93e4a8c1e35493845045175273916?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/2bf93e4a8c1e35493845045175273916?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/pgilstrap"
},
"btaylor": {
"type": "authors",
"id": "11365",
"meta": {
"index": "authors_1716337520",
"id": "11365",
"found": true
},
"name": "Bianca Taylor",
"firstName": "Bianca",
"lastName": "Taylor",
"slug": "btaylor",
"email": "btaylor@KQED.org",
"display_author_email": false,
"staff_mastheads": [
"news"
],
"title": "Host and Producer ",
"bio": "Bianca Taylor is a news producer and host of KQED's The Latest podcast.\r\n\r\nHer work with KQED has been honored by the Society of Professional Journalists NorCal, the Webby's, the Regional Murrow Awards, and ONA. She has also worked with NPR, the BBC World Service, and the Washington Post Creative Group.\r\n\r\nBianca is represented by SAG-AFTRA.",
"avatar": "https://secure.gravatar.com/avatar/6b9d3f6552dd10470c5d1c2e58cfe717?s=600&d=blank&r=g",
"twitter": "SoundsLkeBianca",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"edit_others_posts",
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "radio",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Bianca Taylor | KQED",
"description": "Host and Producer ",
"ogImgSrc": "https://secure.gravatar.com/avatar/6b9d3f6552dd10470c5d1c2e58cfe717?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/6b9d3f6552dd10470c5d1c2e58cfe717?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/btaylor"
},
"cchamplin": {
"type": "authors",
"id": "11408",
"meta": {
"index": "authors_1716337520",
"id": "11408",
"found": true
},
"name": "Caroline Champlin",
"firstName": null,
"lastName": null,
"slug": "cchamplin",
"email": "cchamplin@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/78d8654d3fedda8393a51d63c1042215?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"author",
"edit_others_posts"
]
}
],
"headData": {
"title": "Caroline Champlin | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/78d8654d3fedda8393a51d63c1042215?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/78d8654d3fedda8393a51d63c1042215?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cchamplin"
}
},
"pagesReducer": {
"news_tag_music": {
"type": "terms",
"id": "news_1425",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "1425",
"score": 6.8450427
},
"featImg": null,
"name": "music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music Archives | KQED News",
"ogDescription": null
},
"ttid": 1437,
"slug": "music",
"isLoading": false,
"title": "music",
"pageMeta": {
"site": "news",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 13
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/news?tag=music",
"seeMore": false,
"paginated": true,
"page": 13
}
},
{
"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": "/"
}
},
"news_11684469": {
"type": "posts",
"id": "news_11684469",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11684469",
"score": null,
"sort": [
1545429740000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 72
},
"blocks": [],
"publishDate": 1545429740,
"format": "audio",
"disqusTitle": "Dave Alvin and Jimmie Dale Gilmore Intertwine Their Musical Roots on 'Downey to Lubbock'",
"title": "Dave Alvin and Jimmie Dale Gilmore Intertwine Their Musical Roots on 'Downey to Lubbock'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cem>This story originally ran on Aug. 3, 2018. We are re-airing it as one of our favorite music stories of the year.\u003c/em>\u003c/p>\n\u003cp>More than 1,100 miles separate Downey, California and Lubbock, Texas. But for songwriters Dave Alvin and Jimmie Dale Gilmore, their hometowns have a lot in common -- culturally and geographically.\u003c/p>\n\u003cp>“They’re both flat,” Alvin says. “With big sky,” adds Gilmore.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11684511\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-800x800.jpg\" alt=\"\" width=\"304\" height=\"304\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1200x1200.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut.jpg 1500w\" sizes=\"(max-width: 304px) 100vw, 304px\">Alvin, the baritone-voiced guitar slinger, was part of the early L.A. punk scene with \u003ca href=\"http://www.theblasters.com/\" target=\"_blank\" rel=\"noopener\">the Blasters\u003c/a>, the band he formed with his older brother Phil. He's got more than a dozen albums of his own. Gilmore has garnered three Grammy nominations in folk categories, and is a founder of country pioneers \u003ca href=\"http://www.theflatlanders.com/\" target=\"_blank\" rel=\"noopener\">The Flatlanders\u003c/a> (with Joe Ely and Butch Hancock). The longtime friends have teamed up on \"Downey to Lubbock,\" a collaborative album featuring a mix of original songs and covers.\u003c/p>\n\u003cp>The California Report Magazine's host Sasha Khokha talked to Alvin and Gilmore about their new record, working together and growing up around the legendary Southern California club, the Ash Grove.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>This conversation has been edited for clarity and length.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>SASHA KHOKHA: You guys aren't the most obvious pairing. We’ve got California meets Texas, two musicians from two different generations and different musical traditions.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JIMMIE DALE GILMORE:\u003c/strong> We’ve been very good friends for a very, very long time, but we never played music together until last year. So looking back, it’s kind of odd to me that we never thought of it before.\u003c/p>\n\u003cp>\u003cstrong>DAVE ALVIN:\u003c/strong> People say, “What an odd pairing!” Not to us, it’s completely natural. I mean an odd pairing would have been maybe me, Jimmie Dale and Bjork. Even that could have worked!\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: So you guys have been touring this summer with your new album \"Downey To Lubbock.\" How did the idea of doing an album together happen?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong>We did a series of acoustic shows and it was really the first night, when we did the Youngbloods’ song “\u003ca href=\"https://youtu.be/7xGxQXmu7Os\">Get Together\u003c/a>.” Jimmie didn't tell me what song it was, he just said, “It's in G.” And I was like, “Okay, what are we playing? Here we go.” And he sang the first line and I was like “Well, we've got to make a record of this.”\u003c/p>\n\u003cp>https://youtu.be/TDPth7-Mz8g\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> And during these gigs, just right away we discovered we had a whole trove of shared musical background -- stuff that we both loved when we were young and learning how to play. Because we were playing acoustic, it brought up the old folk singer and folk blues side of what I had done early on that I hadn't really touched in a really long time.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: Tell me about the title song, \"Downey To Lubbock.\" It's basically your origin stories: Blues blaster meets old flatlander.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> It's semi-autobiographical and metaphorical and you can dance to it. I had the idea that we should have a defining song for the record.\u003c/p>\n\u003cp>https://youtu.be/n9N3IbU4Dq4\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: It’s like the story of your two road trips through life converging on one highway\u003c/strong>.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> Downey, California and Lubbock, Texas are not that different in some ways. I remember the first time I was ever in Lubbock was around 1982, and just being struck by how similar they looked to each other and culturally, there are a lot of similarities. My hometown was in the southeast corner of Los Angeles County, which was the land of the diasporas. You had people from Texas and Louisiana, African-American and white and Hispanic. And so for me it was really easy when I was a kid to find the music that interested me because everybody that came to California brought their music with them, whether it was blues or country or whatever. So those areas were always sort of mythical promised lands to me.\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> Neither one of us had realized that I had been in California when I was probably 19 or 20 and I spent some time in L.A. I used to go to the Ash Grove. It turned out that Dave and [his brother] Phil were hanging out there at the same time. They were quite a bit younger than me but we were listening to the very same music and we had that in common to draw on.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> I was 10 years younger and I came up to Jimmie’s hip. Who knew that we crossed paths at the Ash Grove and then 40 years later we'd make an album together?\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: How did you guys decide what songs you wanted to cover?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> We would start each show with a song that the audience knew and we'd end the show on a song that the audience knew. But in between were just flights of fancy. And so our shows would cover everything from Lightnin’ Hopkins to Merle Haggard to Sam Cooke. And so each night was different. And so it’s sort of culled from that touring experience but it's also songs that struck some kind of emotional chord with us.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: You do the \u003ca href=\"https://www.kqed.org/news/11512311/immortalized-by-woody-guthrie-deportees-who-died-in-plane-crash-are-nameless-no-longer\">Woody Guthrie song \"Deportee\"\u003c/a> about that plane wreck in Los Gatos Canyon near Fresno [that killed 28 Mexican workers in the process of being deported]. It's like a piece of history that so many Californians have forgotten. What inspired you to revive it now\u003c/strong>?\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> \"Deportee\" is a beautiful piece of work. It’s so poignant and so well done. Dave has been saying that it's one of these songs that is unfortunately, both timeless and timely.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> I'm really proud of that one the way it came out. The night before we recorded I stayed up late listening to about 125 versions of \"Deportee\" because I was like, “OK we have to make it different from all of these.” And then once Jimmie Dale started singing it, I was like, “Wow, I didn't need to stay up all night listening to eight million versions of 'Deportee.'” Jimmie's got the kind of voice that says, “Here here's a new song,” even if it's 60 years old.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: You guys are both solo artists. What was the most surprising thing about working and collaborating with each other? Was there anything unexpected?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> All of it, in a way, for me. We were fans of each other, but we hadn't actually played together, so discovering how much we had in common in our backgrounds was a giant surprise to me. I've been sort of typecast in one world as a country folk-y. I don't know what the word is.\u003c/p>\n\u003cp>\u003cstrong> ALVIN:\u003c/strong> Don't say Americana.\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> And Dave is so associated with punk with the Blasters and both of us have a lot more wide-ranging taste than people would expect of us.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> It's just been an absolute joy. There are no problems, there are no issues and we tend to see everything the same which makes life easy.\u003c/p>\n\u003cp>\u003cstrong>GILMORE: \u003c/strong>Dave is not only a very great guitarist and singer although he denies it; he's a very good singer. But he's also strangely enough, a very good organizer and he’s a good boss.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> When I was in the Blasters, we all grew up together. We liked to fight, that was our deal. And then one day I got sick of it and decided I'm going to work with people who I don't fight with. So that's my organizing principle.\u003c/p>\n\n",
"disqusIdentifier": "11684469 https://ww2.kqed.org/news/?p=11684469",
"disqusUrl": "https://ww2.kqed.org/news/2018/12/21/dave-alvin-and-jimmie-dale-gilmore-intertwine-their-musical-roots-on-downey-to-lubbock/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1310,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 32
},
"modified": 1545431356,
"excerpt": "Solo artists turned collaborators, Dave Alvin and Jimmie Dale Gilmore, talk about their new album.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Solo artists turned collaborators, Dave Alvin and Jimmie Dale Gilmore, talk about their new album.",
"title": "Dave Alvin and Jimmie Dale Gilmore Intertwine Their Musical Roots on 'Downey to Lubbock' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Dave Alvin and Jimmie Dale Gilmore Intertwine Their Musical Roots on 'Downey to Lubbock'",
"datePublished": "2018-12-21T14:02:20-08:00",
"dateModified": "2018-12-21T14:29:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"guestAuthors": [],
"slug": "dave-alvin-and-jimmie-dale-gilmore-intertwine-their-musical-roots-on-downey-to-lubbock",
"status": "publish",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/tcrmag/2018/08/DaveAlvinJimmieGilmore.mp3",
"audioTrackLength": 707,
"path": "/news/11684469/dave-alvin-and-jimmie-dale-gilmore-intertwine-their-musical-roots-on-downey-to-lubbock",
"audioDuration": 724000,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story originally ran on Aug. 3, 2018. We are re-airing it as one of our favorite music stories of the year.\u003c/em>\u003c/p>\n\u003cp>More than 1,100 miles separate Downey, California and Lubbock, Texas. But for songwriters Dave Alvin and Jimmie Dale Gilmore, their hometowns have a lot in common -- culturally and geographically.\u003c/p>\n\u003cp>“They’re both flat,” Alvin says. “With big sky,” adds Gilmore.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11684511\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-800x800.jpg\" alt=\"\" width=\"304\" height=\"304\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1200x1200.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2018/08/RS32184__images_uploads_album_DaveAlvinAndJimmieDaleGilmore_DowneyToLubbock_COVER-qut.jpg 1500w\" sizes=\"(max-width: 304px) 100vw, 304px\">Alvin, the baritone-voiced guitar slinger, was part of the early L.A. punk scene with \u003ca href=\"http://www.theblasters.com/\" target=\"_blank\" rel=\"noopener\">the Blasters\u003c/a>, the band he formed with his older brother Phil. He's got more than a dozen albums of his own. Gilmore has garnered three Grammy nominations in folk categories, and is a founder of country pioneers \u003ca href=\"http://www.theflatlanders.com/\" target=\"_blank\" rel=\"noopener\">The Flatlanders\u003c/a> (with Joe Ely and Butch Hancock). The longtime friends have teamed up on \"Downey to Lubbock,\" a collaborative album featuring a mix of original songs and covers.\u003c/p>\n\u003cp>The California Report Magazine's host Sasha Khokha talked to Alvin and Gilmore about their new record, working together and growing up around the legendary Southern California club, the Ash Grove.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>This conversation has been edited for clarity and length.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>SASHA KHOKHA: You guys aren't the most obvious pairing. We’ve got California meets Texas, two musicians from two different generations and different musical traditions.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JIMMIE DALE GILMORE:\u003c/strong> We’ve been very good friends for a very, very long time, but we never played music together until last year. So looking back, it’s kind of odd to me that we never thought of it before.\u003c/p>\n\u003cp>\u003cstrong>DAVE ALVIN:\u003c/strong> People say, “What an odd pairing!” Not to us, it’s completely natural. I mean an odd pairing would have been maybe me, Jimmie Dale and Bjork. Even that could have worked!\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: So you guys have been touring this summer with your new album \"Downey To Lubbock.\" How did the idea of doing an album together happen?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong>We did a series of acoustic shows and it was really the first night, when we did the Youngbloods’ song “\u003ca href=\"https://youtu.be/7xGxQXmu7Os\">Get Together\u003c/a>.” Jimmie didn't tell me what song it was, he just said, “It's in G.” And I was like, “Okay, what are we playing? Here we go.” And he sang the first line and I was like “Well, we've got to make a record of this.”\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/TDPth7-Mz8g'\n title='//www.youtube.com/embed/TDPth7-Mz8g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>GILMORE:\u003c/strong> And during these gigs, just right away we discovered we had a whole trove of shared musical background -- stuff that we both loved when we were young and learning how to play. Because we were playing acoustic, it brought up the old folk singer and folk blues side of what I had done early on that I hadn't really touched in a really long time.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: Tell me about the title song, \"Downey To Lubbock.\" It's basically your origin stories: Blues blaster meets old flatlander.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> It's semi-autobiographical and metaphorical and you can dance to it. I had the idea that we should have a defining song for the record.\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/n9N3IbU4Dq4'\n title='//www.youtube.com/embed/n9N3IbU4Dq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>KHOKHA: It’s like the story of your two road trips through life converging on one highway\u003c/strong>.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> Downey, California and Lubbock, Texas are not that different in some ways. I remember the first time I was ever in Lubbock was around 1982, and just being struck by how similar they looked to each other and culturally, there are a lot of similarities. My hometown was in the southeast corner of Los Angeles County, which was the land of the diasporas. You had people from Texas and Louisiana, African-American and white and Hispanic. And so for me it was really easy when I was a kid to find the music that interested me because everybody that came to California brought their music with them, whether it was blues or country or whatever. So those areas were always sort of mythical promised lands to me.\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> Neither one of us had realized that I had been in California when I was probably 19 or 20 and I spent some time in L.A. I used to go to the Ash Grove. It turned out that Dave and [his brother] Phil were hanging out there at the same time. They were quite a bit younger than me but we were listening to the very same music and we had that in common to draw on.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> I was 10 years younger and I came up to Jimmie’s hip. Who knew that we crossed paths at the Ash Grove and then 40 years later we'd make an album together?\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: How did you guys decide what songs you wanted to cover?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> We would start each show with a song that the audience knew and we'd end the show on a song that the audience knew. But in between were just flights of fancy. And so our shows would cover everything from Lightnin’ Hopkins to Merle Haggard to Sam Cooke. And so each night was different. And so it’s sort of culled from that touring experience but it's also songs that struck some kind of emotional chord with us.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: You do the \u003ca href=\"https://www.kqed.org/news/11512311/immortalized-by-woody-guthrie-deportees-who-died-in-plane-crash-are-nameless-no-longer\">Woody Guthrie song \"Deportee\"\u003c/a> about that plane wreck in Los Gatos Canyon near Fresno [that killed 28 Mexican workers in the process of being deported]. It's like a piece of history that so many Californians have forgotten. What inspired you to revive it now\u003c/strong>?\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> \"Deportee\" is a beautiful piece of work. It’s so poignant and so well done. Dave has been saying that it's one of these songs that is unfortunately, both timeless and timely.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> I'm really proud of that one the way it came out. The night before we recorded I stayed up late listening to about 125 versions of \"Deportee\" because I was like, “OK we have to make it different from all of these.” And then once Jimmie Dale started singing it, I was like, “Wow, I didn't need to stay up all night listening to eight million versions of 'Deportee.'” Jimmie's got the kind of voice that says, “Here here's a new song,” even if it's 60 years old.\u003c/p>\n\u003cp>\u003cstrong>KHOKHA: You guys are both solo artists. What was the most surprising thing about working and collaborating with each other? Was there anything unexpected?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> All of it, in a way, for me. We were fans of each other, but we hadn't actually played together, so discovering how much we had in common in our backgrounds was a giant surprise to me. I've been sort of typecast in one world as a country folk-y. I don't know what the word is.\u003c/p>\n\u003cp>\u003cstrong> ALVIN:\u003c/strong> Don't say Americana.\u003c/p>\n\u003cp>\u003cstrong>GILMORE:\u003c/strong> And Dave is so associated with punk with the Blasters and both of us have a lot more wide-ranging taste than people would expect of us.\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> It's just been an absolute joy. There are no problems, there are no issues and we tend to see everything the same which makes life easy.\u003c/p>\n\u003cp>\u003cstrong>GILMORE: \u003c/strong>Dave is not only a very great guitarist and singer although he denies it; he's a very good singer. But he's also strangely enough, a very good organizer and he’s a good boss.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>ALVIN:\u003c/strong> When I was in the Blasters, we all grew up together. We liked to fight, that was our deal. And then one day I got sick of it and decided I'm going to work with people who I don't fight with. So that's my organizing principle.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11684469/dave-alvin-and-jimmie-dale-gilmore-intertwine-their-musical-roots-on-downey-to-lubbock",
"authors": [
"254",
"107"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_1425"
],
"featImg": "news_11684502",
"label": "news_72"
},
"news_11693821": {
"type": "posts",
"id": "news_11693821",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11693821",
"score": null,
"sort": [
1538240418000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 72
},
"blocks": [],
"publishDate": 1538240418,
"format": "audio",
"disqusTitle": "A California Supreme: Alice Coltrane's 'Lost' L.A. Albums Resurrected",
"title": "A California Supreme: Alice Coltrane's 'Lost' L.A. Albums Resurrected",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>By the time Alice McLeod met her future husband \u003ca href=\"https://www.johncoltrane.com/\" target=\"_blank\" rel=\"noopener\">John Coltrane\u003c/a> in 1963, the classically trained musician with a background in gospel had already mastered bebop piano. Like John, she was looking to push jazz further.\u003c/p>\n\u003cp>She’d join his group on piano in 1966, replacing \u003ca href=\"http://www.mccoytyner.com/\" target=\"_blank\" rel=\"noopener\">McCoy Tyner\u003c/a>, spurring John’s exploration of explosive free jazz and world music on albums like \u003cem>\u003ca href=\"https://www.allmusic.com/album/expression-mw0000197323\" target=\"_blank\" rel=\"noopener\">Expression\u003c/a>, \u003ca href=\"https://www.allmusic.com/album/cosmic-music-mw0002215455\" target=\"_blank\" rel=\"noopener\">Cosmic Music \u003c/a>\u003c/em>and \u003ca href=\"https://www.allmusic.com/album/stellar-regions-mw0000176627\" target=\"_blank\" rel=\"noopener\">\u003cem>Stellar Regions.\u003c/em>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11693833\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11693833\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-800x602.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1020x768.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1200x903.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1180x888.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-960x723.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-240x181.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-375x282.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-520x391.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane in the recording studio in 1966. \u003ccite>(Courtesy of Chuck Stewart / Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple married in 1965, started a family and collaborated musically and spiritually until John’s untimely death, just four years after meeting, in 1967. He was just 40 years old.\u003c/p>\n\u003cp>Alice Coltrane talked about their partnership during a rare 1981 interview on \u003ca href=\"https://www.npr.org/2011/09/23/140743198/alice-coltrane-on-piano-jazz\" target=\"_blank\" rel=\"noopener\">NPR’s \u003cem>Piano Jazz\u003c/em> program\u003c/a>.\u003c/p>\n\u003cp>“He really didn’t have to talk or instruct with the music,\" says Coltrane during the show. \"He really didn’t have to do that. Just being around him, listening to him express his ideas musically, it really was very inspirational.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>John encouraged Alice to take up the harp — an instrument that long fascinated both of them. During a visit to a music store, he ordered one for her. It was delivered to the family’s home just weeks after John’s death. She mastered it well enough to play it on her debut 1968 album, a tribute to her late husband, called \u003ca href=\"https://www.allmusic.com/album/a-monastic-trio-mw0000601109\" target=\"_blank\" rel=\"noopener\">\u003cem>A Monastic Trio\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11694344\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694344 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/10-AC-Monastic-cover-800x721.jpg\" alt=\"\" width=\"800\" height=\"721\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-800x721.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-160x144.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-1020x919.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-960x865.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-240x216.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-375x338.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-520x468.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane and harp on the cover of the artist’s debut album as bandleader, 'A Monastic Trio.' \u003ccite>(Courtesy of AliceColtrane.com )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One can only wonder what dedication that takes to get up to that level that she did so fast while still in mourning,” says jazz critic \u003ca href=\"https://jazztimes.com/features/the-gifts-god-gave-him/\" target=\"_blank\" rel=\"noopener\">Ashley Kahn\u003c/a>, who wrote the liner notes for a new Alice Coltrane retrospective, \u003ca href=\"https://shop.realgonemusic.com/products/alice-coltrane-spiritual-eternal-2cd-set\" target=\"_blank\" rel=\"noopener\">\u003cem>Spiritual Eternal — The Complete Warner Bros. Studio Recordings\u003c/em>\u003c/a>, which collects her three studio albums recorded for Warner Bros. shortly after her move to Southern California from New Jersey.\u003c/p>\n\u003cp>“The only way to explain it is cosmic intervention or really, really deep dedication,” says Kahn, speaking from his home in New York.\u003c/p>\n\u003cp>The harp would become a fixture of Alice Coltrane’s subsequent albums, including the three studio sets recorded for Warner between 1975 and 1978.\u003c/p>\n\u003cp>The harp, the same one purchased for her by John Coltrane, and her piano sit where they have for decades: in the front room of the Coltrane family home on a spacious semi-rural property in Woodland Hills, where the family resettled.\u003c/p>\n\u003cp>“That’s \u003cem>the\u003c/em> harp, and I took the cover off for you. Because we need to see it sometimes,” says daughter \u003ca href=\"http://michellecoltrane.com/\" target=\"_blank\" rel=\"noopener\">Sita Michelle Coltrane\u003c/a>, a jazz vocalist and eldest of four Coltrane children. Sita Michelle lives there now with her family.\u003c/p>\n\u003cfigure id=\"attachment_11694346\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11694346\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1200x900.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1180x885.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-960x720.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-240x180.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-375x281.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-520x390.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sita Michelle Coltrane poses with her mother’s harp, purchased for her by her father, John Coltrane in 1967, in the Coltrane family home in Woodland Hills, California. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sita Michelle remembers making the move from New Jersey to the new and wondrous world of Southern California in the early 1970s. She’d sometimes join her mom in the Warner Bros. studio in Burbank, playing hand percussion and chanting on several songs inspired by traditional Indian devotional songs, called \u003ca href=\"https://www.loc.gov/audio/?all=true&fa=language:hindi%7Csubject:bhajans,+hindi\" target=\"_blank\" rel=\"noopener\">bhajans\u003c/a>.\u003c/p>\n\u003cp>\"My brothers and me, we know a lot of bhajans because they’re like church hymns to us,\" says Coltrane. \"Even though it was [in] Sanskrit we could sing them. It was part of our life.\"\u003c/p>\n\u003cfigure id=\"attachment_11694348\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694348 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A copy of Alice Coltrane’s 1977 Warner Bros. album ‘Transcendence,’ sits atop Coltrane’s piano, along with other keepsakes, in the Coltrane home in Woodland Hills. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the music Alice Coltrane recorded for Warner during this period began taking shape at this home in Woodland Hills, inspired by a deepening exploration of Indian music, meditation and Hinduism.\u003c/p>\n\u003cp>“It goes all the way back to Africa. They were chanting mantras back in Africa,” says \u003ca href=\"https://kripalu.org/presenters-programs/presenters/purusha-hickson\" target=\"_blank\" rel=\"noopener\">Purusha Hickson\u003c/a>, a Camarillo-based yoga instructor and musician who performed on Coltrane’s three Warner Bros. albums. He also became one of the first people to join Alice Coltrane’s ashram.\u003c/p>\n\u003cp>“(Coltrane’s) coming up in the church, and then her association with the great John Coltrane. She brought all of that, along with her own deep connection with God,” says Hickson, speaking on the patio of his secluded poolside studio apartment overlooking some Ventura County vineyards.\u003c/p>\n\u003cfigure id=\"attachment_11694349\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694349 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1200x797.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1180x783.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-960x637.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-520x345.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Purusha Hickson (l) performing the devotional music of Alice Coltrane with members of the Sai Anantam Ashram in 2017. \u003ccite>(Courtesy of Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And even though she had some questionable musicians, speaking of myself,” he laughs, \"it didn’t matter, it was not about that. She said, 'Bring your heart, bring that.' \"\u003c/p>\n\u003cp>Hickson would also join Coltrane on a series of meditative devotional recordings she recorded professionally in the studio, but distributed privately in very small quantities on cassette tape in the '80s and '90s. Selections from this series of four impossible-to-find tapes finally saw wider release last year on the Luaka Bop collection \u003ca href=\"https://luakabop.com/catalog/world-spirituality-classics-1-the-ecstatic-music-of-alice-coltrane-turiyasangitananda/\" target=\"_blank\" rel=\"noopener\">\u003cem>World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>Glimpses of what was to come on these later recordings were already starting to appear in the 1970s at the Warner Bros. studio.\u003c/p>\n\u003cfigure id=\"attachment_11694351\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694351 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-%E2%80%94-AC-and-group-at-Sai-Anantam-Ashram-California.-1-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1020x678.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1200x798.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-520x346.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane (center, in orange) in an undated photo with members of her Sai Anantam Ashram in Agoura Hills. \u003ccite>(SRI HARI MOSS / Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The family's new life in Southern California and Coltrane’s blossoming spirituality are reflected on the song ‘\u003cem>Om Supreme’\u003c/em> from the album \u003ca href=\"https://www.allmusic.com/album/eternity-mw0000217533\" target=\"_blank\" rel=\"noopener\">\u003cem>Eternit\u003c/em>\u003c/a> — her first \"L.A.\" record for Warner. On it, Coltrane evokes what she perceived as the spiritual forces that drew her out West to begin life anew.\u003c/p>\n\u003cp>The song includes the mantra-like chanting of a small chorus: \u003cem>“When I told you to come to California / you knew I would meet you in California / When I told you to come to California / you knew I would meet you in California / CALIFORNIA, IN CALIFORNIA!”\u003c/em>\u003c/p>\n\u003cp>\u003cem>Eternity\u003c/em> is largely driven by Coltrane’s surging Wurlitzer organ outfitted with an analog synthesizer that Ashley Kahn says enabled her to bend and stretch the notes much like an in-your-face tenor saxophonist.\u003c/p>\n\u003cp>“[It sounds] very Eastern, the way that a sitar player loves to bend the strings, that modulating tone that she’d hit,” explains Kahn.\u003c/p>\n\u003cfigure id=\"attachment_11694356\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694356 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-800x528.jpeg\" alt=\"\" width=\"800\" height=\"528\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-800x528.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-160x106.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1020x674.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1200x793.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1180x779.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-960x634.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-240x159.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-375x248.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-520x343.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Coltrane home in Woodland Hills, occupied by daughter Sita Michelle and family, is adorned with images and keepsakes of Alice and John Coltrane. \u003ccite>(Steven Cuevas/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It would bend a little bit further. That really becomes part of her sonic vocabulary with the Warner (Bros.) period.”\u003c/p>\n\u003cp>Two more studio albums for Warner would follow in quick succession: \u003ca href=\"http://www.bbc.co.uk/music/reviews/f6mq/\" target=\"_blank\" rel=\"noopener\">\u003cem>Radha-Krsna Nama Sankirtana\u003c/em>\u003c/a> in 1976 and \u003ca href=\"https://en.wikipedia.org/wiki/Transcendence_(Alice_Coltrane_album)\">\u003cem>Transcendence\u003c/em>\u003c/a> the following year. They’d be the furthest yet that Coltrane would get from conventional jazz. Instead, the albums are looser and deeply rooted in gospel and Indian music. There are fewer \"professional\" jazz musicians in the mix, and the albums are awash with exotic ensemble percussion and chanting choruses.\u003c/p>\n\u003cp>Purusha Hickson says the recording sessions were joyful. Even Carlos Santana dropped in for one session, happy to play some simple hand percussion after his guitar broke. Hickson says Coltrane was an exacting bandleader, but one who encouraged musicians to take risks and find their own groove.\u003c/p>\n\u003cp>“More like a village musician when there is a celebration, just picking up a drum or clave because you want to participate in the celebration,” says Hickson, clearly still deeply affected by his experiences and decades-long friendship with Coltrane.\u003c/p>\n\u003cp>“Our participation was chanting Sanskrit, traditional mantras that have sound vibration qualities. They are uplifting for the mind and spirit.”\u003c/p>\n\u003cfigure id=\"attachment_11694354\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694354 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-800x499.jpg\" alt=\"\" width=\"800\" height=\"499\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-800x499.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-160x100.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1020x637.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1200x749.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1180x737.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-960x599.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-240x150.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-375x234.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-520x325.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane during the photo shoot for the 2004 album ‘Translinear Light,’ her last “commercial” album in her lifetime. \u003ccite>(Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the end of Coltrane’s Warner Bros. contract, there were new priorities; the founding of a \u003ca href=\"http://thevedanticcenter.org/\" target=\"_blank\" rel=\"noopener\">spiritual retreat and ashram\u003c/a>, pursuit of purely devotional music and the everyday demands of raising four kids on her own. Daughter Sita Michelle says Alice still did the occasional concert, but at select venues only. The long nights in smoky jazz clubs were over.\u003c/p>\n\u003cp>“They were smoking then, the alcohol. This is now a person that’s taken spiritual vows, devoted herself to God,” says Coltrane of her mother. “It really wasn’t a (music) where you shake your hips. It all fit with the lifestyle she’d chosen.”\u003c/p>\n\u003cp>As Alice Coltrane suggested to NPR host and jazz pianist \u003ca href=\"https://www.allmusic.com/artist/marian-mcpartland-mn0000824866\" target=\"_blank\" rel=\"noopener\">Marian McPartland\u003c/a> on \u003cem>Piano Jazz \u003c/em>in 1981, a new musical phase was taking shape, one that would take her even further from jazz and Western music altogether.\u003c/p>\n\u003cp>“I am not currently contracted, and since the Warner Bros. contract finalized, that was in 1978 when I made the last (live) double record album (\u003cem>Transfiguration\u003c/em>) for them.”\u003c/p>\n\u003cp>The music Alice Coltrane would create over the ensuing 25 years was devoted almost entirely to her spiritual life. She’d release just one more commercial jazz album, \u003cem>\u003ca href=\"https://www.allmusic.com/album/translinear-light-mw0000401754\" target=\"_blank\" rel=\"noopener\">Translinear Light\u003c/a>,\u003c/em> in 2004 accompanied by her son, the acclaimed jazz saxophonist and composer Ravi Coltrane. She died three years later at the age of 69.\u003c/p>\n\u003cp>Coltrane's explorations may have alienated some jazz purists over the years. But they’ve won generations of new fans and inspired musicians (including saxophonist Kamasi Washington, Thom Yorke of Radiohead and indie rock veterans Yo La Tengo) far beyond the world of jazz.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>'Alice Coltrane: Spiritual Eternal — The Complete Warner Bros. Studio Recordings' was released Sept. 7 by the Real Gone Music label.\u003c/em>\u003c/p>\n\n",
"disqusIdentifier": "11693821 https://ww2.kqed.org/news/?p=11693821",
"disqusUrl": "https://ww2.kqed.org/news/2018/09/29/a-california-supreme-alice-coltranes-lost-l-a-albums-resurrected/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1670,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 37
},
"modified": 1538273501,
"excerpt": "The re-release of the Warner Brothers recordings spotlights a musician transitioning from the secular to the sacred. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The re-release of the Warner Brothers recordings spotlights a musician transitioning from the secular to the sacred. ",
"title": "A California Supreme: Alice Coltrane's 'Lost' L.A. Albums Resurrected | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "A California Supreme: Alice Coltrane's 'Lost' L.A. Albums Resurrected",
"datePublished": "2018-09-29T10:00:18-07:00",
"dateModified": "2018-09-29T19:11:41-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"guestAuthors": [],
"slug": "a-california-supreme-alice-coltranes-lost-l-a-albums-resurrected",
"status": "publish",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/tcrmag/2018/09/AliceColtraneCuevas.mp3",
"audioTrackLength": 483,
"path": "/news/11693821/a-california-supreme-alice-coltranes-lost-l-a-albums-resurrected",
"audioDuration": 496000,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the time Alice McLeod met her future husband \u003ca href=\"https://www.johncoltrane.com/\" target=\"_blank\" rel=\"noopener\">John Coltrane\u003c/a> in 1963, the classically trained musician with a background in gospel had already mastered bebop piano. Like John, she was looking to push jazz further.\u003c/p>\n\u003cp>She’d join his group on piano in 1966, replacing \u003ca href=\"http://www.mccoytyner.com/\" target=\"_blank\" rel=\"noopener\">McCoy Tyner\u003c/a>, spurring John’s exploration of explosive free jazz and world music on albums like \u003cem>\u003ca href=\"https://www.allmusic.com/album/expression-mw0000197323\" target=\"_blank\" rel=\"noopener\">Expression\u003c/a>, \u003ca href=\"https://www.allmusic.com/album/cosmic-music-mw0002215455\" target=\"_blank\" rel=\"noopener\">Cosmic Music \u003c/a>\u003c/em>and \u003ca href=\"https://www.allmusic.com/album/stellar-regions-mw0000176627\" target=\"_blank\" rel=\"noopener\">\u003cem>Stellar Regions.\u003c/em>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11693833\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11693833\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-800x602.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1020x768.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1200x903.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-1180x888.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-960x723.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-240x181.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-375x282.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo-520x391.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/2-AC-1966-Chuck-Stewart-photo.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane in the recording studio in 1966. \u003ccite>(Courtesy of Chuck Stewart / Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple married in 1965, started a family and collaborated musically and spiritually until John’s untimely death, just four years after meeting, in 1967. He was just 40 years old.\u003c/p>\n\u003cp>Alice Coltrane talked about their partnership during a rare 1981 interview on \u003ca href=\"https://www.npr.org/2011/09/23/140743198/alice-coltrane-on-piano-jazz\" target=\"_blank\" rel=\"noopener\">NPR’s \u003cem>Piano Jazz\u003c/em> program\u003c/a>.\u003c/p>\n\u003cp>“He really didn’t have to talk or instruct with the music,\" says Coltrane during the show. \"He really didn’t have to do that. Just being around him, listening to him express his ideas musically, it really was very inspirational.”\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>John encouraged Alice to take up the harp — an instrument that long fascinated both of them. During a visit to a music store, he ordered one for her. It was delivered to the family’s home just weeks after John’s death. She mastered it well enough to play it on her debut 1968 album, a tribute to her late husband, called \u003ca href=\"https://www.allmusic.com/album/a-monastic-trio-mw0000601109\" target=\"_blank\" rel=\"noopener\">\u003cem>A Monastic Trio\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11694344\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694344 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/10-AC-Monastic-cover-800x721.jpg\" alt=\"\" width=\"800\" height=\"721\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-800x721.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-160x144.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-1020x919.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-960x865.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-240x216.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-375x338.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover-520x468.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/10-AC-Monastic-cover.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane and harp on the cover of the artist’s debut album as bandleader, 'A Monastic Trio.' \u003ccite>(Courtesy of AliceColtrane.com )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One can only wonder what dedication that takes to get up to that level that she did so fast while still in mourning,” says jazz critic \u003ca href=\"https://jazztimes.com/features/the-gifts-god-gave-him/\" target=\"_blank\" rel=\"noopener\">Ashley Kahn\u003c/a>, who wrote the liner notes for a new Alice Coltrane retrospective, \u003ca href=\"https://shop.realgonemusic.com/products/alice-coltrane-spiritual-eternal-2cd-set\" target=\"_blank\" rel=\"noopener\">\u003cem>Spiritual Eternal — The Complete Warner Bros. Studio Recordings\u003c/em>\u003c/a>, which collects her three studio albums recorded for Warner Bros. shortly after her move to Southern California from New Jersey.\u003c/p>\n\u003cp>“The only way to explain it is cosmic intervention or really, really deep dedication,” says Kahn, speaking from his home in New York.\u003c/p>\n\u003cp>The harp would become a fixture of Alice Coltrane’s subsequent albums, including the three studio sets recorded for Warner between 1975 and 1978.\u003c/p>\n\u003cp>The harp, the same one purchased for her by John Coltrane, and her piano sit where they have for decades: in the front room of the Coltrane family home on a spacious semi-rural property in Woodland Hills, where the family resettled.\u003c/p>\n\u003cp>“That’s \u003cem>the\u003c/em> harp, and I took the cover off for you. Because we need to see it sometimes,” says daughter \u003ca href=\"http://michellecoltrane.com/\" target=\"_blank\" rel=\"noopener\">Sita Michelle Coltrane\u003c/a>, a jazz vocalist and eldest of four Coltrane children. Sita Michelle lives there now with her family.\u003c/p>\n\u003cfigure id=\"attachment_11694346\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11694346\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1200x900.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-1180x885.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-960x720.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-240x180.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-375x281.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR-520x390.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/4-AC-Michelle-n-Harp-COLOR.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sita Michelle Coltrane poses with her mother’s harp, purchased for her by her father, John Coltrane in 1967, in the Coltrane family home in Woodland Hills, California. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sita Michelle remembers making the move from New Jersey to the new and wondrous world of Southern California in the early 1970s. She’d sometimes join her mom in the Warner Bros. studio in Burbank, playing hand percussion and chanting on several songs inspired by traditional Indian devotional songs, called \u003ca href=\"https://www.loc.gov/audio/?all=true&fa=language:hindi%7Csubject:bhajans,+hindi\" target=\"_blank\" rel=\"noopener\">bhajans\u003c/a>.\u003c/p>\n\u003cp>\"My brothers and me, we know a lot of bhajans because they’re like church hymns to us,\" says Coltrane. \"Even though it was [in] Sanskrit we could sing them. It was part of our life.\"\u003c/p>\n\u003cfigure id=\"attachment_11694348\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694348 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/7-AC-Transc-cover-on-piano.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A copy of Alice Coltrane’s 1977 Warner Bros. album ‘Transcendence,’ sits atop Coltrane’s piano, along with other keepsakes, in the Coltrane home in Woodland Hills. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the music Alice Coltrane recorded for Warner during this period began taking shape at this home in Woodland Hills, inspired by a deepening exploration of Indian music, meditation and Hinduism.\u003c/p>\n\u003cp>“It goes all the way back to Africa. They were chanting mantras back in Africa,” says \u003ca href=\"https://kripalu.org/presenters-programs/presenters/purusha-hickson\" target=\"_blank\" rel=\"noopener\">Purusha Hickson\u003c/a>, a Camarillo-based yoga instructor and musician who performed on Coltrane’s three Warner Bros. albums. He also became one of the first people to join Alice Coltrane’s ashram.\u003c/p>\n\u003cp>“(Coltrane’s) coming up in the church, and then her association with the great John Coltrane. She brought all of that, along with her own deep connection with God,” says Hickson, speaking on the patio of his secluded poolside studio apartment overlooking some Ventura County vineyards.\u003c/p>\n\u003cfigure id=\"attachment_11694349\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694349 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1200x797.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-1180x783.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-960x637.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble-520x345.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/5-AC-Parusha-and-ensemble.jpg 1705w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Purusha Hickson (l) performing the devotional music of Alice Coltrane with members of the Sai Anantam Ashram in 2017. \u003ccite>(Courtesy of Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And even though she had some questionable musicians, speaking of myself,” he laughs, \"it didn’t matter, it was not about that. She said, 'Bring your heart, bring that.' \"\u003c/p>\n\u003cp>Hickson would also join Coltrane on a series of meditative devotional recordings she recorded professionally in the studio, but distributed privately in very small quantities on cassette tape in the '80s and '90s. Selections from this series of four impossible-to-find tapes finally saw wider release last year on the Luaka Bop collection \u003ca href=\"https://luakabop.com/catalog/world-spirituality-classics-1-the-ecstatic-music-of-alice-coltrane-turiyasangitananda/\" target=\"_blank\" rel=\"noopener\">\u003cem>World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>Glimpses of what was to come on these later recordings were already starting to appear in the 1970s at the Warner Bros. studio.\u003c/p>\n\u003cfigure id=\"attachment_11694351\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694351 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-%E2%80%94-AC-and-group-at-Sai-Anantam-Ashram-California.-1-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1020x678.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1200x798.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1-520x346.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1A-AC-PIC-BY-Sri-Hari-Moss-—-AC-and-group-at-Sai-Anantam-Ashram-California.-1.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane (center, in orange) in an undated photo with members of her Sai Anantam Ashram in Agoura Hills. \u003ccite>(SRI HARI MOSS / Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The family's new life in Southern California and Coltrane’s blossoming spirituality are reflected on the song ‘\u003cem>Om Supreme’\u003c/em> from the album \u003ca href=\"https://www.allmusic.com/album/eternity-mw0000217533\" target=\"_blank\" rel=\"noopener\">\u003cem>Eternit\u003c/em>\u003c/a> — her first \"L.A.\" record for Warner. On it, Coltrane evokes what she perceived as the spiritual forces that drew her out West to begin life anew.\u003c/p>\n\u003cp>The song includes the mantra-like chanting of a small chorus: \u003cem>“When I told you to come to California / you knew I would meet you in California / When I told you to come to California / you knew I would meet you in California / CALIFORNIA, IN CALIFORNIA!”\u003c/em>\u003c/p>\n\u003cp>\u003cem>Eternity\u003c/em> is largely driven by Coltrane’s surging Wurlitzer organ outfitted with an analog synthesizer that Ashley Kahn says enabled her to bend and stretch the notes much like an in-your-face tenor saxophonist.\u003c/p>\n\u003cp>“[It sounds] very Eastern, the way that a sitar player loves to bend the strings, that modulating tone that she’d hit,” explains Kahn.\u003c/p>\n\u003cfigure id=\"attachment_11694356\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694356 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-800x528.jpeg\" alt=\"\" width=\"800\" height=\"528\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-800x528.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-160x106.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1020x674.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1200x793.jpeg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-1180x779.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-960x634.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-240x159.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-375x248.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS-520x343.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/1-A-COLTRANE-MISC-PHOTOS.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Coltrane home in Woodland Hills, occupied by daughter Sita Michelle and family, is adorned with images and keepsakes of Alice and John Coltrane. \u003ccite>(Steven Cuevas/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It would bend a little bit further. That really becomes part of her sonic vocabulary with the Warner (Bros.) period.”\u003c/p>\n\u003cp>Two more studio albums for Warner would follow in quick succession: \u003ca href=\"http://www.bbc.co.uk/music/reviews/f6mq/\" target=\"_blank\" rel=\"noopener\">\u003cem>Radha-Krsna Nama Sankirtana\u003c/em>\u003c/a> in 1976 and \u003ca href=\"https://en.wikipedia.org/wiki/Transcendence_(Alice_Coltrane_album)\">\u003cem>Transcendence\u003c/em>\u003c/a> the following year. They’d be the furthest yet that Coltrane would get from conventional jazz. Instead, the albums are looser and deeply rooted in gospel and Indian music. There are fewer \"professional\" jazz musicians in the mix, and the albums are awash with exotic ensemble percussion and chanting choruses.\u003c/p>\n\u003cp>Purusha Hickson says the recording sessions were joyful. Even Carlos Santana dropped in for one session, happy to play some simple hand percussion after his guitar broke. Hickson says Coltrane was an exacting bandleader, but one who encouraged musicians to take risks and find their own groove.\u003c/p>\n\u003cp>“More like a village musician when there is a celebration, just picking up a drum or clave because you want to participate in the celebration,” says Hickson, clearly still deeply affected by his experiences and decades-long friendship with Coltrane.\u003c/p>\n\u003cp>“Our participation was chanting Sanskrit, traditional mantras that have sound vibration qualities. They are uplifting for the mind and spirit.”\u003c/p>\n\u003cfigure id=\"attachment_11694354\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11694354 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-800x499.jpg\" alt=\"\" width=\"800\" height=\"499\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-800x499.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-160x100.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1020x637.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1200x749.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-1180x737.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-960x599.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-240x150.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-375x234.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light-520x325.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/6-AC-in-house-photo-session-for-Translinear-Light.jpg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alice Coltrane during the photo shoot for the 2004 album ‘Translinear Light,’ her last “commercial” album in her lifetime. \u003ccite>(Alice Coltrane Facebook page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the end of Coltrane’s Warner Bros. contract, there were new priorities; the founding of a \u003ca href=\"http://thevedanticcenter.org/\" target=\"_blank\" rel=\"noopener\">spiritual retreat and ashram\u003c/a>, pursuit of purely devotional music and the everyday demands of raising four kids on her own. Daughter Sita Michelle says Alice still did the occasional concert, but at select venues only. The long nights in smoky jazz clubs were over.\u003c/p>\n\u003cp>“They were smoking then, the alcohol. This is now a person that’s taken spiritual vows, devoted herself to God,” says Coltrane of her mother. “It really wasn’t a (music) where you shake your hips. It all fit with the lifestyle she’d chosen.”\u003c/p>\n\u003cp>As Alice Coltrane suggested to NPR host and jazz pianist \u003ca href=\"https://www.allmusic.com/artist/marian-mcpartland-mn0000824866\" target=\"_blank\" rel=\"noopener\">Marian McPartland\u003c/a> on \u003cem>Piano Jazz \u003c/em>in 1981, a new musical phase was taking shape, one that would take her even further from jazz and Western music altogether.\u003c/p>\n\u003cp>“I am not currently contracted, and since the Warner Bros. contract finalized, that was in 1978 when I made the last (live) double record album (\u003cem>Transfiguration\u003c/em>) for them.”\u003c/p>\n\u003cp>The music Alice Coltrane would create over the ensuing 25 years was devoted almost entirely to her spiritual life. She’d release just one more commercial jazz album, \u003cem>\u003ca href=\"https://www.allmusic.com/album/translinear-light-mw0000401754\" target=\"_blank\" rel=\"noopener\">Translinear Light\u003c/a>,\u003c/em> in 2004 accompanied by her son, the acclaimed jazz saxophonist and composer Ravi Coltrane. She died three years later at the age of 69.\u003c/p>\n\u003cp>Coltrane's explorations may have alienated some jazz purists over the years. But they’ve won generations of new fans and inspired musicians (including saxophonist Kamasi Washington, Thom Yorke of Radiohead and indie rock veterans Yo La Tengo) far beyond the world of jazz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>'Alice Coltrane: Spiritual Eternal — The Complete Warner Bros. Studio Recordings' was released Sept. 7 by the Real Gone Music label.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11693821/a-california-supreme-alice-coltranes-lost-l-a-albums-resurrected",
"authors": [
"2600"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_3771",
"news_1425"
],
"featImg": "news_11693827",
"label": "news_72"
},
"news_11687342": {
"type": "posts",
"id": "news_11687342",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11687342",
"score": null,
"sort": [
1534530620000
]
},
"guestAuthors": [],
"slug": "fans-pay-tribute-at-aretha-franklins-star-on-hollywood-walk-of-fame",
"title": "Fans Pay Tribute at Aretha Franklin's Star on Hollywood Walk of Fame",
"publishDate": 1534530620,
"format": "audio",
"headTitle": "Fans Pay Tribute at Aretha Franklin’s Star on Hollywood Walk of Fame | KQED",
"labelTerm": {
"term": 72,
"site": "news"
},
"content": "\u003cp>Soon after \u003ca href=\"https://www.kqed.org/arts/13839139/how-aretha-franklin-supported-angela-davis-and-the-black-panthers\" rel=\"noopener\" target=\"_blank\">Aretha Franklin’s death\u003c/a> on August 16 at the age of 76 after a battle with advanced pancreatic cancer, fans flocked to the artist’s star on the Hollywood Walk of Fame in Los Angeles.\u003c/p>\n\u003cp>By nightfall, the star was almost completely submerged under floral tributes. Fans had also placed T-shirts, candles and photographs of Franklin amid the bouquets.\u003c/p>\n\u003cp>Dozens of people crowded around the landmark to take photos, pose for selfies, shoot videos, sing Franklin songs and share stories about what the artist meant to them.\u003c/p>\n\u003cfigure id=\"attachment_11687354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11687354\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-800x600.jpg\" alt=\"Rebecca Halpin and her friend Megan Kavanagh were visiting Los Angeles from Dublin, Ireland. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rebecca Halpin and her friend Megan Kavanagh were visiting Los Angeles from Dublin, Ireland. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rebecca Halpin and her friend Megan Kavanagh were visiting Los Angeles from Dublin, Ireland. \u003c/p>\n\u003cp>“Everyone knows ‘Respect’ — our parents listened to it, so we listened to it,” Halpin said. “Even if you wouldn’t be able to associate her with singing it, you would know that song.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mary Martin, from Galveston, Texas, responded to the occasion by belting out songs by Franklin, including “Respect.”\u003c/p>\n\u003cp>Visiting from Portland, Oregon, Irving Calderon and his family stopped briefly by Franklin’s star to pay homage to the singer. \u003c/p>\n\u003cp>“She was a superstar,” Calderon said. “It’s a blow to the music industry.”\u003c/p>\n\u003cfigure id=\"attachment_11687358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11687358\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/08/thai-pickett-800x600.jpg\" alt=\"Angeleno Thai Pickett reminisced about his past at Aretha Franklin’s Walk of Fame star.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angeleno Thai Pickett reminisced about his past at Aretha Franklin’s Walk of Fame star. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, seeing the star caused Angeleno Thai Pickett to reminisce about his past. \u003c/p>\n\u003cp>“I remember my mom, my great aunt and all of them imitating dances from ‘Soul Train’ and ‘American Bandstand,'” Pickett said. “I mean, Aretha Franklin is like family, actually.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Franklin received her Hollywood Walk of Fame star in 1979.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The celebrated singer, who passed away August 16 at the age of 76 after a battle with advanced pancreatic cancer, received her Hollywood Walk of Fame star in 1979.",
"status": "publish",
"parent": 0,
"modified": 1721149130,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 304
},
"headData": {
"title": "Fans Pay Tribute at Aretha Franklin's Star on Hollywood Walk of Fame | KQED",
"description": "The celebrated singer, who passed away August 16 at the age of 76 after a battle with advanced pancreatic cancer, received her Hollywood Walk of Fame star in 1979.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Fans Pay Tribute at Aretha Franklin's Star on Hollywood Walk of Fame",
"datePublished": "2018-08-17T11:30:20-07:00",
"dateModified": "2024-07-16T09:58:50-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/tcr/2018/08/VeltmanArethaWalkofFame.mp3",
"sticky": false,
"audioTrackLength": 108,
"path": "/news/11687342/fans-pay-tribute-at-aretha-franklins-star-on-hollywood-walk-of-fame",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Soon after \u003ca href=\"https://www.kqed.org/arts/13839139/how-aretha-franklin-supported-angela-davis-and-the-black-panthers\" rel=\"noopener\" target=\"_blank\">Aretha Franklin’s death\u003c/a> on August 16 at the age of 76 after a battle with advanced pancreatic cancer, fans flocked to the artist’s star on the Hollywood Walk of Fame in Los Angeles.\u003c/p>\n\u003cp>By nightfall, the star was almost completely submerged under floral tributes. Fans had also placed T-shirts, candles and photographs of Franklin amid the bouquets.\u003c/p>\n\u003cp>Dozens of people crowded around the landmark to take photos, pose for selfies, shoot videos, sing Franklin songs and share stories about what the artist meant to them.\u003c/p>\n\u003cfigure id=\"attachment_11687354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11687354\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-800x600.jpg\" alt=\"Rebecca Halpin and her friend Megan Kavanagh were visiting Los Angeles from Dublin, Ireland. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/Rebecca-and-Megan-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rebecca Halpin and her friend Megan Kavanagh were visiting Los Angeles from Dublin, Ireland. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rebecca Halpin and her friend Megan Kavanagh were visiting Los Angeles from Dublin, Ireland. \u003c/p>\n\u003cp>“Everyone knows ‘Respect’ — our parents listened to it, so we listened to it,” Halpin said. “Even if you wouldn’t be able to associate her with singing it, you would know that song.”\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>Mary Martin, from Galveston, Texas, responded to the occasion by belting out songs by Franklin, including “Respect.”\u003c/p>\n\u003cp>Visiting from Portland, Oregon, Irving Calderon and his family stopped briefly by Franklin’s star to pay homage to the singer. \u003c/p>\n\u003cp>“She was a superstar,” Calderon said. “It’s a blow to the music industry.”\u003c/p>\n\u003cfigure id=\"attachment_11687358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11687358\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/08/thai-pickett-800x600.jpg\" alt=\"Angeleno Thai Pickett reminisced about his past at Aretha Franklin’s Walk of Fame star.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/08/thai-pickett-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angeleno Thai Pickett reminisced about his past at Aretha Franklin’s Walk of Fame star. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, seeing the star caused Angeleno Thai Pickett to reminisce about his past. \u003c/p>\n\u003cp>“I remember my mom, my great aunt and all of them imitating dances from ‘Soul Train’ and ‘American Bandstand,'” Pickett said. “I mean, Aretha Franklin is like family, actually.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Franklin received her Hollywood Walk of Fame star in 1979.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11687342/fans-pay-tribute-at-aretha-franklins-star-on-hollywood-walk-of-fame",
"authors": [
"8608"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_1425",
"news_17041"
],
"featImg": "news_11687346",
"label": "news_72"
},
"news_11669512": {
"type": "posts",
"id": "news_11669512",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11669512",
"score": null,
"sort": [
1526866857000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 72
},
"blocks": [],
"publishDate": 1526866857,
"format": "audio",
"disqusTitle": "'Indian Coachella' Comes to Mountain View",
"title": "'Indian Coachella' Comes to Mountain View",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Promoters said the first-ever \u003ca href=\"https://gaanamusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Gaana Music Festival\u003c/a> in Mountain View was supposed to be the Indian version of Coachella.\u003c/p>\n\u003cp>The two-day event at the Shoreline Amphitheatre, billed as the largest Indian music festival in the U.S. ever, delivered on all the festival standards: food trucks, pricey alcohol and corporate sponsorship.\u003c/p>\n\u003cp>\"This is the first time corporate America has supported an Indian festival in such a big way,\" said a spokeswoman for The Times of India Group, which presented the show.\u003c/p>\n\u003cp>She noted that Toyota, Cox and Kings, ICICI Bank NRI, McDonalds, Sling TV and State Farm were among the sponsors.\u003c/p>\n\u003cp>Beyond that, though, the Gaana Festival made the venue completely its own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead of tank tops or flower crowns, some of the 13,000 fans at the Shoreline Amphitheater on the first night of the festival wore saris and bangles. Conversations jumped between English to Hindi to Telugu, sometimes mid-sentence. Work friends came together and daughters brought their mothers. Most of all, it was about love for Bollywood.\u003c/p>\n\u003cfigure id=\"attachment_11669515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11669515 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-800x600.jpg\" alt=\"The crowd of 13,000 raises lighters and phones during heartthrob Armaan Malik's performance during night one of the Gaana Music Festival in Mountain View. The festival billed itself as the largest Indian music festival ever in the U.S.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd of 13,000 raises lighters and phones during heartthrob Armaan Malik's performance during night one of the Gaana Music Festival in Mountain View. The festival billed itself as the largest Indian music festival ever in the U.S. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My influences are Michael Jackson, Stevie Wonder, Earth Wind and Fire, Imagine Dragons, Snarky Puppy, Bruno Mars,” said funk-fusion artist Benny Dayal, “but we always try to keep it as Indian as possible.” He sings in Hindi but sometimes sprinkles his lyrics with English phrases.\u003c/p>\n\u003cp>Most of the 14 acts, including Dayal, have produced songs for Bollywood movie soundtracks. Performers like Dayal, Armaan Malik, Arijit Singh and Akriti Kakar -- considered some of the biggest stars of India -- flew all the way to California for the festival.\u003c/p>\n\u003cfigure id=\"attachment_11669518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11669518 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-800x630.jpg\" alt=\"Bollywood star Gippy Grewal goes on a selfie tour through the audience of the Shoreline Amphitheatre to promote his upcoming movie 'Carry on Jatta 2.'\" width=\"800\" height=\"630\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-800x630.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-160x126.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-1020x803.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-1200x944.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-1180x929.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-960x756.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-240x189.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-375x295.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-520x409.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bollywood star Gippy Grewal goes on a selfie tour through the audience of the Shoreline Amphitheatre to promote his upcoming movie 'Carry on Jatta 2.' \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"In American movies there’s less of a concept of background songs,” said Microsoft engineer and festival-goer Vatan Aggrawal. “In Indian culture each movie will have six or seven songs going on, and then people will be dancing or at least acting like they’re singing.”\u003c/p>\n\u003cp>Manu Singh brought his family to the show and said he especially wanted to see Mika Singh and Gippy Grewal. \"I have my cousins here, who've been raised here [in the United States]. So, everybody likes it,\" he said. Singh says the \"peppy beats\" of Indian music can appeal to anyone.\u003c/p>\n\u003cp>Silicon Valley, home to one of the largest Indian-American populations in the United States, was an ideal location for the festival's promoters, with many people like Aggrawal working in the surrounding tech offices (the Google campus is a block from the venue).\u003c/p>\n\u003cfigure id=\"attachment_11669519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11669519 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-800x618.jpg\" alt=\"Manu Singh (middle) of San José dances with his daughter, Sahana, to Benny Dayal's version of 'Gangnam Style. He says everybody can get into the "peppy beats" of Indian music.\" width=\"800\" height=\"618\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-800x618.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-1020x788.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-1200x927.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-1180x911.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-960x742.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-240x185.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-375x290.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-520x402.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Manu Singh (middle) of San Jose dances with his daughter, Sahana, to Benny Dayal's version of 'Gangnam Style.' He says everybody can get into the \"peppy beats\" of Indian music. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event's eponymous sponsor is an Indian tech company, Gaana, a music streaming service like Spotify. Chinese tech giant Tencent recently \u003ca href=\"https://techcrunch.com/2018/02/27/gaana-raises-115m-led-by-tencent/\" target=\"_blank\" rel=\"noopener\">invested $115 million in the company.\u003c/a>\u003c/p>\n\u003cp>Musician Benny Dayal says streaming apps like Gaana have helped spread his music to American audiences.\u003c/p>\n\u003cp>“We all live on internet,\" Dayal said. \"That’s our planet right now. It’s not even the physical Earth that we live on.\" He expects to see the Gaana Music Festival become an annual event.\u003c/p>\n\u003cp>“It’s going to be like wildfire from the next year on, I pretty much know it. Everyone is going to be dying to perform at this festival.\"\u003c/p>\n\u003cfigure id=\"attachment_11669520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11669520\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-800x600.jpg\" alt=\"Sarhya Laranth and Meenalshi of Palo Alto dance along to Bollywood star Benny Dayal at the Gaana Music Festival in Mountain View. They were most excited to see musician Arijit Singh, who also preformed.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarhya Laranth and Meenalshi of Palo Alto dance along to Bollywood star Benny Dayal at the Gaana Music Festival in Mountain View. They were most excited to see musician Arijit Singh, who preformed Sunday. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Correction: A previous version of the article said Kavi Agrawal was the organizer of the event. For this event, she was the spokeswoman for the Times of India. \u003c/em>\u003c/p>\n\n",
"disqusIdentifier": "11669512 https://ww2.kqed.org/news/?p=11669512",
"disqusUrl": "https://ww2.kqed.org/news/2018/05/20/indian-coachella-comes-to-mountain-view/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 699,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1526948043,
"excerpt": "The Gaana Music Festival brought thousands out to what was billed as the largest Indian music festival in the country.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Gaana Music Festival brought thousands out to what was billed as the largest Indian music festival in the country.",
"title": "'Indian Coachella' Comes to Mountain View | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "'Indian Coachella' Comes to Mountain View",
"datePublished": "2018-05-20T18:40:57-07:00",
"dateModified": "2018-05-21T17:14:03-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"guestAuthors": [],
"slug": "indian-coachella-comes-to-mountain-view",
"status": "publish",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2018/05/GaanaMusicFestival.mp3",
"path": "/news/11669512/indian-coachella-comes-to-mountain-view",
"audioDuration": 73000,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Promoters said the first-ever \u003ca href=\"https://gaanamusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Gaana Music Festival\u003c/a> in Mountain View was supposed to be the Indian version of Coachella.\u003c/p>\n\u003cp>The two-day event at the Shoreline Amphitheatre, billed as the largest Indian music festival in the U.S. ever, delivered on all the festival standards: food trucks, pricey alcohol and corporate sponsorship.\u003c/p>\n\u003cp>\"This is the first time corporate America has supported an Indian festival in such a big way,\" said a spokeswoman for The Times of India Group, which presented the show.\u003c/p>\n\u003cp>She noted that Toyota, Cox and Kings, ICICI Bank NRI, McDonalds, Sling TV and State Farm were among the sponsors.\u003c/p>\n\u003cp>Beyond that, though, the Gaana Festival made the venue completely its own.\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>Instead of tank tops or flower crowns, some of the 13,000 fans at the Shoreline Amphitheater on the first night of the festival wore saris and bangles. Conversations jumped between English to Hindi to Telugu, sometimes mid-sentence. Work friends came together and daughters brought their mothers. Most of all, it was about love for Bollywood.\u003c/p>\n\u003cfigure id=\"attachment_11669515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11669515 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-800x600.jpg\" alt=\"The crowd of 13,000 raises lighters and phones during heartthrob Armaan Malik's performance during night one of the Gaana Music Festival in Mountain View. The festival billed itself as the largest Indian music festival ever in the U.S.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31062_Image-uploaded-from-iOS-15-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd of 13,000 raises lighters and phones during heartthrob Armaan Malik's performance during night one of the Gaana Music Festival in Mountain View. The festival billed itself as the largest Indian music festival ever in the U.S. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My influences are Michael Jackson, Stevie Wonder, Earth Wind and Fire, Imagine Dragons, Snarky Puppy, Bruno Mars,” said funk-fusion artist Benny Dayal, “but we always try to keep it as Indian as possible.” He sings in Hindi but sometimes sprinkles his lyrics with English phrases.\u003c/p>\n\u003cp>Most of the 14 acts, including Dayal, have produced songs for Bollywood movie soundtracks. Performers like Dayal, Armaan Malik, Arijit Singh and Akriti Kakar -- considered some of the biggest stars of India -- flew all the way to California for the festival.\u003c/p>\n\u003cfigure id=\"attachment_11669518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11669518 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-800x630.jpg\" alt=\"Bollywood star Gippy Grewal goes on a selfie tour through the audience of the Shoreline Amphitheatre to promote his upcoming movie 'Carry on Jatta 2.'\" width=\"800\" height=\"630\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-800x630.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-160x126.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-1020x803.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-1200x944.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-1180x929.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-960x756.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-240x189.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-375x295.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31065_Image-uploaded-from-iOS-12-qut-520x409.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bollywood star Gippy Grewal goes on a selfie tour through the audience of the Shoreline Amphitheatre to promote his upcoming movie 'Carry on Jatta 2.' \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"In American movies there’s less of a concept of background songs,” said Microsoft engineer and festival-goer Vatan Aggrawal. “In Indian culture each movie will have six or seven songs going on, and then people will be dancing or at least acting like they’re singing.”\u003c/p>\n\u003cp>Manu Singh brought his family to the show and said he especially wanted to see Mika Singh and Gippy Grewal. \"I have my cousins here, who've been raised here [in the United States]. So, everybody likes it,\" he said. Singh says the \"peppy beats\" of Indian music can appeal to anyone.\u003c/p>\n\u003cp>Silicon Valley, home to one of the largest Indian-American populations in the United States, was an ideal location for the festival's promoters, with many people like Aggrawal working in the surrounding tech offices (the Google campus is a block from the venue).\u003c/p>\n\u003cfigure id=\"attachment_11669519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11669519 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-800x618.jpg\" alt=\"Manu Singh (middle) of San José dances with his daughter, Sahana, to Benny Dayal's version of 'Gangnam Style. He says everybody can get into the "peppy beats" of Indian music.\" width=\"800\" height=\"618\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-800x618.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-1020x788.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-1200x927.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-1180x911.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-960x742.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-240x185.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-375x290.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31066_Image-uploaded-from-iOS-11-qut-520x402.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Manu Singh (middle) of San Jose dances with his daughter, Sahana, to Benny Dayal's version of 'Gangnam Style.' He says everybody can get into the \"peppy beats\" of Indian music. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event's eponymous sponsor is an Indian tech company, Gaana, a music streaming service like Spotify. Chinese tech giant Tencent recently \u003ca href=\"https://techcrunch.com/2018/02/27/gaana-raises-115m-led-by-tencent/\" target=\"_blank\" rel=\"noopener\">invested $115 million in the company.\u003c/a>\u003c/p>\n\u003cp>Musician Benny Dayal says streaming apps like Gaana have helped spread his music to American audiences.\u003c/p>\n\u003cp>“We all live on internet,\" Dayal said. \"That’s our planet right now. It’s not even the physical Earth that we live on.\" He expects to see the Gaana Music Festival become an annual event.\u003c/p>\n\u003cp>“It’s going to be like wildfire from the next year on, I pretty much know it. Everyone is going to be dying to perform at this festival.\"\u003c/p>\n\u003cfigure id=\"attachment_11669520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11669520\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-800x600.jpg\" alt=\"Sarhya Laranth and Meenalshi of Palo Alto dance along to Bollywood star Benny Dayal at the Gaana Music Festival in Mountain View. They were most excited to see musician Arijit Singh, who also preformed.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/05/RS31067_Image-uploaded-from-iOS-10-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarhya Laranth and Meenalshi of Palo Alto dance along to Bollywood star Benny Dayal at the Gaana Music Festival in Mountain View. They were most excited to see musician Arijit Singh, who preformed Sunday. \u003ccite>(Caroline Champlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Correction: A previous version of the article said Kavi Agrawal was the organizer of the event. For this event, she was the spokeswoman for the Times of India. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11669512/indian-coachella-comes-to-mountain-view",
"authors": [
"11408"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_1425"
],
"featImg": "news_11669517",
"label": "news_72"
},
"news_11667569": {
"type": "posts",
"id": "news_11667569",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11667569",
"score": null,
"sort": [
1526148010000
]
},
"guestAuthors": [],
"slug": "singer-songwriter-megan-keelys-tribute-to-her-grandmother",
"title": "Singer-Songwriter Megan Keely's Tribute to Her Grandmother",
"publishDate": 1526148010,
"format": "audio",
"headTitle": "Singer-Songwriter Megan Keely’s Tribute to Her Grandmother | KQED",
"labelTerm": {
"term": 72,
"site": "news"
},
"content": "\u003cp>\u003cem>Some people hate Mother’s Day because of the way it sentimentalizes moms, or makes women who’ve never been mothers feel somehow less-than. Bay Area writer Anne Lamott famously ranted against the holiday in an \u003ca href=\"https://www.salon.com/2010/05/08/hate_mothers_day_anne_lamott/\" rel=\"noopener\" target=\"_blank\">essay for Salon:\u003c/a>\u003c/em>\u003cstrong>\u003cem> My main gripe about Mother’s Day is that it feels incomplete and imprecise. The main thing that ever helped mothers was other people mothering them; a chain of mothering that keeps the whole shebang afloat.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>What about the stepmoms and godmothers? What about the cool aunties, grandmas and other strong women who help raise kids?\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bay Area singer-songwriter and guitarist \u003ca href=\"https://www.megankeely.com/\" rel=\"noopener\" target=\"_blank\">Megan Keely\u003c/a> pays tribute to them in her soon-to-be released album, \u003ca href=\"https://www.pledgemusic.com/projects/bloom\" rel=\"noopener\" target=\"_blank\">\u003cem>Bloom\u003c/em>\u003c/a>, which focuses on strong, empowered women.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Keely talked with Sasha Khokha, host of The California Report Magazine, and gave her a sneak peek of a song that’s particularly fitting for Mother’s Day.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11667784\" class=\"wp-caption alignnone\" style=\"max-width: 343px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11667784\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-800x629.jpg\" alt=\"\" width=\"343\" height=\"270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-800x629.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-1020x802.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-1200x944.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-1180x928.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-960x755.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-240x189.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-375x295.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-520x409.jpg 520w\" sizes=\"(max-width: 343px) 100vw, 343px\">\u003cfigcaption class=\"wp-caption-text\">Singer-songwriter Megan Keely with her grandmother, Marcia Montgomery Turner Keely. \u003ccite>(Bert Keely)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s the song ‘Marcia Montgomery’ about?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[Marcia] was my grandmother on my dad’s side. And she was a Navy wife. Her husband was a naval aviator and was away a lot. My grandmother was raising my dad and his two sisters. She learned how to fix everything around the house. She was so clever and crafty and practical and smart. She just took matters in her own hands. She could figure anything out. So, when she passed away on my 30th birthday a couple of years ago, I was grieving, but still looking to her for guidance each time I was facing any puzzles.\u003c/p>\n\u003cfigure id=\"attachment_11667813\" class=\"wp-caption aligncenter\" style=\"max-width: 1421px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11667813\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut.jpg\" alt=\"\" width=\"1421\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut.jpg 1421w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-1200x844.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-520x366.jpg 520w\" sizes=\"(max-width: 1421px) 100vw, 1421px\">\u003cfigcaption class=\"wp-caption-text\">Megan Keely, her grandmother Marcia Montgomery Turner Keely, and brother Brandon Keely (who co-produced the song and plays guitar). \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you think she taught you about being a strong woman?\u003c/strong>\u003c/p>\n\u003cp>So much. On a tangible level, she taught me how to fix a running toilet. She taught me that you don’t need to look to somebody else to figure it out for you or fix it for you. You have that strength within and you can look within in order to really listen to yourself and find the right answer.\u003c/p>\n\u003cfigure id=\"attachment_11667649\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11667649\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer-songwriter Megan Keely’s new album “Bloom” features songs about empowered women and immigrant families. \u003ccite>(Stephanie Dandan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is there a particular lyric in “Marcia Montgomery” that means a lot to you?\u003c/strong>\u003c/p>\n\u003cp>One of the verses says, “I’m trying to learn from all my own mistakes, growing and giving, learning and living, solid as wood.” That just sticks in my mind as an overall feeling that I felt around her. The sturdiness.\u003c/p>\n\u003cp>\u003cstrong>Marcia Montgomery, by Megan Keely\u003c/strong>\u003c/p>\n\u003cp>Marcia Montgomery \u003cbr>\n What do you think of the choices I’ve made this year \u003cbr>\n Marcia Montgomery \u003cbr>\n You always knew how to say it straight, how to keep it clear \u003cbr>\n I’m trying to use my mind and my hands the way you always could \u003cbr>\n Clever fixes and practical decisions, honest and good \u003c/p>\n\u003cp> Are you still proud of me, are you still proud of me \u003cbr>\n Am I getting it right, am I living my life how I outta be \u003c/p>\n\u003cp> Oh Marcia Montgomery \u003cbr>\n There was a time when I thought you’d meet the children I’ll bear \u003cbr>\n But Marcia Montgomery \u003cbr>\n Now they will learn your ways through stories and jewelry I’ll wear \u003cbr>\n I’m trying to learn from all my mistakes the way I know I should \u003cbr>\n Growing and giving, learning and living, solid as wood \u003c/p>\n\u003cp> Are you still proud of me, are you still proud of me \u003cbr>\n Am I getting it right am I living my life how I outta be \u003c/p>\n\u003cp> Oh Marcia Montgomery \u003cbr>\n You always knew how to say it straight, how to keep it clear\u003c/p>\n\u003cfigure id=\"attachment_11667783\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11667783\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer-songwriter Megan Keely’s latest album features songs about strong women, inspired by her two grandmothers and her mom. Left to right: grandmother Marcia Montgomery Marcia Montgomery Turner Keely, grandmother “Lola” Anita Saflor Enriquez and mom Cynthia Keely. \u003ccite>(Bert Keely)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Did you learn things from your grandma that are different from what you learned from your mom?\u003c/strong>\u003c/p>\n\u003cp>I was very lucky to have both of them very close by and playing integral roles in my life. They tag-teamed and supplemented each other so well, but were so different. On a physical level, my hands look more like my grandma’s hands. My mom has these long beautiful slender fingers and these long nails. I got my grandma’s hands, which are meaty and wide, and that’s a big part of, I think, why I was able to pick up guitar quickly. It’s probably why I became a landscape architect as well, because I love to work with the dirt and work with my hands.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Snm2-YbtsNo\u003c/p>\n\u003cp>\u003cstrong>Another song on this album, “Define American,” was inspired by your mom, right?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yeah, my mom was born in the Philippines and her family brought her over to Alameda when she was three-years-old. My Lolo, my grandfather, got a job working for the U.S. military. My Lolo and Lola (grandmother) saw that as the ultimate opportunity to provide a path for education and opportunity for their kids and their entire family. I feel lucky that they took that risk and that there was a path to citizenship for them at the time. Our whole family benefited and grew from that. My mom has dedicated really her life’s work towards helping immigrant students, many of whom are undocumented Dreamers. It just felt like a no-brainer to me that so many of these young people should not be turned away or sent away. It just felt like I needed to do something and that my music could lend a voice. Without a doubt, my advocacy for Dreamers was affected by my mom’s work and her values.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Keely says her grandmother taught her to be practical, rooted; 'learning and living, solid as wood.'",
"status": "publish",
"parent": 0,
"modified": 1721116252,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 1032
},
"headData": {
"title": "Singer-Songwriter Megan Keely's Tribute to Her Grandmother | KQED",
"description": "Keely says her grandmother taught her to be practical, rooted; 'learning and living, solid as wood.'",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Singer-Songwriter Megan Keely's Tribute to Her Grandmother",
"datePublished": "2018-05-12T11:00:10-07:00",
"dateModified": "2024-07-16T00:50:52-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/tcrmag/2018/05/Keely.mp3",
"sticky": false,
"path": "/news/11667569/singer-songwriter-megan-keelys-tribute-to-her-grandmother",
"audioDuration": 270000,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Some people hate Mother’s Day because of the way it sentimentalizes moms, or makes women who’ve never been mothers feel somehow less-than. Bay Area writer Anne Lamott famously ranted against the holiday in an \u003ca href=\"https://www.salon.com/2010/05/08/hate_mothers_day_anne_lamott/\" rel=\"noopener\" target=\"_blank\">essay for Salon:\u003c/a>\u003c/em>\u003cstrong>\u003cem> My main gripe about Mother’s Day is that it feels incomplete and imprecise. The main thing that ever helped mothers was other people mothering them; a chain of mothering that keeps the whole shebang afloat.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>What about the stepmoms and godmothers? What about the cool aunties, grandmas and other strong women who help raise kids?\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bay Area singer-songwriter and guitarist \u003ca href=\"https://www.megankeely.com/\" rel=\"noopener\" target=\"_blank\">Megan Keely\u003c/a> pays tribute to them in her soon-to-be released album, \u003ca href=\"https://www.pledgemusic.com/projects/bloom\" rel=\"noopener\" target=\"_blank\">\u003cem>Bloom\u003c/em>\u003c/a>, which focuses on strong, empowered women.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Keely talked with Sasha Khokha, host of The California Report Magazine, and gave her a sneak peek of a song that’s particularly fitting for Mother’s Day.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11667784\" class=\"wp-caption alignnone\" style=\"max-width: 343px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11667784\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-800x629.jpg\" alt=\"\" width=\"343\" height=\"270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-800x629.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-1020x802.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-1200x944.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-1180x928.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-960x755.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-240x189.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-375x295.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30909_Marcia-IMG_0093-qut-520x409.jpg 520w\" sizes=\"(max-width: 343px) 100vw, 343px\">\u003cfigcaption class=\"wp-caption-text\">Singer-songwriter Megan Keely with her grandmother, Marcia Montgomery Turner Keely. \u003ccite>(Bert Keely)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s the song ‘Marcia Montgomery’ about?\u003c/strong>\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>[Marcia] was my grandmother on my dad’s side. And she was a Navy wife. Her husband was a naval aviator and was away a lot. My grandmother was raising my dad and his two sisters. She learned how to fix everything around the house. She was so clever and crafty and practical and smart. She just took matters in her own hands. She could figure anything out. So, when she passed away on my 30th birthday a couple of years ago, I was grieving, but still looking to her for guidance each time I was facing any puzzles.\u003c/p>\n\u003cfigure id=\"attachment_11667813\" class=\"wp-caption aligncenter\" style=\"max-width: 1421px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11667813\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut.jpg\" alt=\"\" width=\"1421\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut.jpg 1421w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-1200x844.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30910_keelys-2765-qut-520x366.jpg 520w\" sizes=\"(max-width: 1421px) 100vw, 1421px\">\u003cfigcaption class=\"wp-caption-text\">Megan Keely, her grandmother Marcia Montgomery Turner Keely, and brother Brandon Keely (who co-produced the song and plays guitar). \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you think she taught you about being a strong woman?\u003c/strong>\u003c/p>\n\u003cp>So much. On a tangible level, she taught me how to fix a running toilet. She taught me that you don’t need to look to somebody else to figure it out for you or fix it for you. You have that strength within and you can look within in order to really listen to yourself and find the right answer.\u003c/p>\n\u003cfigure id=\"attachment_11667649\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11667649\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30906_megan-keely-by-stephanie-dandan-04-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer-songwriter Megan Keely’s new album “Bloom” features songs about empowered women and immigrant families. \u003ccite>(Stephanie Dandan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is there a particular lyric in “Marcia Montgomery” that means a lot to you?\u003c/strong>\u003c/p>\n\u003cp>One of the verses says, “I’m trying to learn from all my own mistakes, growing and giving, learning and living, solid as wood.” That just sticks in my mind as an overall feeling that I felt around her. The sturdiness.\u003c/p>\n\u003cp>\u003cstrong>Marcia Montgomery, by Megan Keely\u003c/strong>\u003c/p>\n\u003cp>Marcia Montgomery \u003cbr>\n What do you think of the choices I’ve made this year \u003cbr>\n Marcia Montgomery \u003cbr>\n You always knew how to say it straight, how to keep it clear \u003cbr>\n I’m trying to use my mind and my hands the way you always could \u003cbr>\n Clever fixes and practical decisions, honest and good \u003c/p>\n\u003cp> Are you still proud of me, are you still proud of me \u003cbr>\n Am I getting it right, am I living my life how I outta be \u003c/p>\n\u003cp> Oh Marcia Montgomery \u003cbr>\n There was a time when I thought you’d meet the children I’ll bear \u003cbr>\n But Marcia Montgomery \u003cbr>\n Now they will learn your ways through stories and jewelry I’ll wear \u003cbr>\n I’m trying to learn from all my mistakes the way I know I should \u003cbr>\n Growing and giving, learning and living, solid as wood \u003c/p>\n\u003cp> Are you still proud of me, are you still proud of me \u003cbr>\n Am I getting it right am I living my life how I outta be \u003c/p>\n\u003cp> Oh Marcia Montgomery \u003cbr>\n You always knew how to say it straight, how to keep it clear\u003c/p>\n\u003cfigure id=\"attachment_11667783\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11667783\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/05/RS30908_Marcia-IMG_0092-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer-songwriter Megan Keely’s latest album features songs about strong women, inspired by her two grandmothers and her mom. Left to right: grandmother Marcia Montgomery Marcia Montgomery Turner Keely, grandmother “Lola” Anita Saflor Enriquez and mom Cynthia Keely. \u003ccite>(Bert Keely)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Did you learn things from your grandma that are different from what you learned from your mom?\u003c/strong>\u003c/p>\n\u003cp>I was very lucky to have both of them very close by and playing integral roles in my life. They tag-teamed and supplemented each other so well, but were so different. On a physical level, my hands look more like my grandma’s hands. My mom has these long beautiful slender fingers and these long nails. I got my grandma’s hands, which are meaty and wide, and that’s a big part of, I think, why I was able to pick up guitar quickly. It’s probably why I became a landscape architect as well, because I love to work with the dirt and work with my hands.\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/Snm2-YbtsNo'\n title='//www.youtube.com/embed/Snm2-YbtsNo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Another song on this album, “Define American,” was inspired by your mom, right?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yeah, my mom was born in the Philippines and her family brought her over to Alameda when she was three-years-old. My Lolo, my grandfather, got a job working for the U.S. military. My Lolo and Lola (grandmother) saw that as the ultimate opportunity to provide a path for education and opportunity for their kids and their entire family. I feel lucky that they took that risk and that there was a path to citizenship for them at the time. Our whole family benefited and grew from that. My mom has dedicated really her life’s work towards helping immigrant students, many of whom are undocumented Dreamers. It just felt like a no-brainer to me that so many of these young people should not be turned away or sent away. It just felt like I needed to do something and that my music could lend a voice. Without a doubt, my advocacy for Dreamers was affected by my mom’s work and her values.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11667569/singer-songwriter-megan-keelys-tribute-to-her-grandmother",
"authors": [
"254"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_22973",
"news_20415",
"news_5056",
"news_20942",
"news_1425"
],
"featImg": "news_11667788",
"label": "news_72"
},
"news_11662453": {
"type": "posts",
"id": "news_11662453",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11662453",
"score": null,
"sort": [
1523822888000
]
},
"guestAuthors": [],
"slug": "photos-beyonce-turns-coachella-into-beychella",
"title": "PHOTOS: Beyoncé Turns Coachella into 'Beychella'",
"publishDate": 1523822888,
"format": "image",
"headTitle": "PHOTOS: Beyoncé Turns Coachella into ‘Beychella’ | KQED",
"labelTerm": {},
"content": "\u003cp>Beyoncé was supposed to headline last year’s Coachella Valley Music and Arts Festival, but had to reschedule for this year because she was pregnant with her twins, Sir and Rumi.\u003c/p>\n\u003cp>It was worth the wait.\u003c/p>\n\u003cp>In her rousing two-hour set, Beyoncé paid tribute to historically black colleges and universities, performed with her husband Jay-Z and reunited with her old group Destiny’s Child.\u003c/p>\n\u003cfigure id=\"attachment_11662458\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11662458\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-800x522.jpg\" alt=\"Beyonce's entrance as the headliner at Coachella 2018's first weekend. Her performance had been delayed for a year because of pregnancy.\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-1200x784.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-1920x1254.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-1180x771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-960x627.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-520x340.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé’s entrance as the headliner at Coachella 2018’s first weekend. Her performance had been delayed for a year because of pregnancy. \u003ccite>(Larry Busacca/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She spent most of her time on stage being backed by marching bands, dance troupes and step teams at HBCUs. She also performed “Lift Every Voice and Sing,” known as the national black anthem.\u003c/p>\n\u003cp>https://twitter.com/FredTJoseph/status/985499978855534592\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/MatthewACherry/status/985576333794099200\u003c/p>\n\u003cfigure id=\"attachment_11662457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11662457\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-800x533.jpg\" alt=\"Beyoncé Knowles performs onstage during 2018 Coachella.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé Knowles performs onstage during 2018 Coachella.\u003c/figcaption>\u003c/figure>\n\u003cp>Jon Caramanica wrote in his \u003ca href=\"https://www.nytimes.com/2018/04/15/arts/music/beyonce-coachella-review.html\" target=\"_blank\" rel=\"noopener\">New York Times review\u003c/a> of the performance that, “There’s not likely to be a more meaningful, absorbing, forceful and radical performance by an American musician this year, or any year soon,” than Beyoncé’s turn as the first black woman to headline Coachella.\u003c/p>\n\u003cblockquote>\u003cp>It was rich with history, potently political and visually grand. By turns uproarious, rowdy, and lush. A gobsmacking marvel of choreography and musical direction.\u003c/p>\n\u003cp>And not unimportantly, it obliterated the ideology of the relaxed festival, the idea that musicians exist to perform in service of a greater vibe. That is one of the more tragic side effects of the spread of festival culture over the last two decades. Beyoncé was having none of it. The Coachella main stage, on the grounds of the Empire Polo Club here, was her platform, yes, but her show was in countless ways a rebuke.\u003c/p>\u003c/blockquote>\n\u003cp>Kelly Rowland and Michelle Williams brought back Destiny’s Child for one night as the trio sang their smash “Say My Name,” and husband Jay-Z also came out for a collaboration.\u003c/p>\n\u003cp>https://twitter.com/Phil_Lewis_/status/985479101388677120\u003c/p>\n\u003cp>Beyoncé is due to return for her second performance as Coachella returns for its second run next weekend.\u003c/p>\n\u003cp>Beyoncé’s fans took to social media to express their love for the performance, with many renaming the event “Beychella” and discussing admission to the “HBeyCU.”\u003c/p>\n\u003cp>https://twitter.com/mtfarnsworth/status/985592354227732480\u003c/p>\n\u003cp>https://twitter.com/KarenCivil/status/985519690276454400\u003c/p>\n\u003cp>If you want to watch the performance, the official Coachella feed is below. Fast-forward to 3 hours and 50 minutes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/9TUBf6l7FBg?t=3h50m55s\u003c/p>\n\n",
"blocks": [],
"excerpt": "Beyoncé paid tribute to historically black colleges and universities and reunited with Destiny's Child during her headlining performance at Coachella.",
"status": "publish",
"parent": 0,
"modified": 1721113470,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 444
},
"headData": {
"title": "PHOTOS: Beyoncé Turns Coachella into 'Beychella' | KQED",
"description": "Beyoncé paid tribute to historically black colleges and universities and reunited with Destiny's Child during her headlining performance at Coachella.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "PHOTOS: Beyoncé Turns Coachella into 'Beychella'",
"datePublished": "2018-04-15T13:08:08-07:00",
"dateModified": "2024-07-16T00:04:30-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"source": "Associated Press",
"sticky": false,
"nprByline": "Associated Press",
"path": "/news/11662453/photos-beyonce-turns-coachella-into-beychella",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé was supposed to headline last year’s Coachella Valley Music and Arts Festival, but had to reschedule for this year because she was pregnant with her twins, Sir and Rumi.\u003c/p>\n\u003cp>It was worth the wait.\u003c/p>\n\u003cp>In her rousing two-hour set, Beyoncé paid tribute to historically black colleges and universities, performed with her husband Jay-Z and reunited with her old group Destiny’s Child.\u003c/p>\n\u003cfigure id=\"attachment_11662458\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11662458\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-800x522.jpg\" alt=\"Beyonce's entrance as the headliner at Coachella 2018's first weekend. Her performance had been delayed for a year because of pregnancy.\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-1200x784.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-1920x1254.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-1180x771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-960x627.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-520x340.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé’s entrance as the headliner at Coachella 2018’s first weekend. Her performance had been delayed for a year because of pregnancy. \u003ccite>(Larry Busacca/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She spent most of her time on stage being backed by marching bands, dance troupes and step teams at HBCUs. She also performed “Lift Every Voice and Sing,” known as the national black anthem.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "985499978855534592"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "985576333794099200"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cfigure id=\"attachment_11662457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11662457\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-800x533.jpg\" alt=\"Beyoncé Knowles performs onstage during 2018 Coachella.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé Knowles performs onstage during 2018 Coachella.\u003c/figcaption>\u003c/figure>\n\u003cp>Jon Caramanica wrote in his \u003ca href=\"https://www.nytimes.com/2018/04/15/arts/music/beyonce-coachella-review.html\" target=\"_blank\" rel=\"noopener\">New York Times review\u003c/a> of the performance that, “There’s not likely to be a more meaningful, absorbing, forceful and radical performance by an American musician this year, or any year soon,” than Beyoncé’s turn as the first black woman to headline Coachella.\u003c/p>\n\u003cblockquote>\u003cp>It was rich with history, potently political and visually grand. By turns uproarious, rowdy, and lush. A gobsmacking marvel of choreography and musical direction.\u003c/p>\n\u003cp>And not unimportantly, it obliterated the ideology of the relaxed festival, the idea that musicians exist to perform in service of a greater vibe. That is one of the more tragic side effects of the spread of festival culture over the last two decades. Beyoncé was having none of it. The Coachella main stage, on the grounds of the Empire Polo Club here, was her platform, yes, but her show was in countless ways a rebuke.\u003c/p>\u003c/blockquote>\n\u003cp>Kelly Rowland and Michelle Williams brought back Destiny’s Child for one night as the trio sang their smash “Say My Name,” and husband Jay-Z also came out for a collaboration.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "985479101388677120"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Beyoncé is due to return for her second performance as Coachella returns for its second run next weekend.\u003c/p>\n\u003cp>Beyoncé’s fans took to social media to express their love for the performance, with many renaming the event “Beychella” and discussing admission to the “HBeyCU.”\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "985592354227732480"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "985519690276454400"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>If you want to watch the performance, the official Coachella feed is below. Fast-forward to 3 hours and 50 minutes.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9TUBf6l7FBg'\n title='//www.youtube.com/embed/9TUBf6l7FBg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11662453/photos-beyonce-turns-coachella-into-beychella",
"authors": [
"byline_news_11662453"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_19133",
"news_23000",
"news_20000",
"news_1425",
"news_17286"
],
"featImg": "news_11662455",
"label": "source_news_11662453"
},
"news_11643794": {
"type": "posts",
"id": "news_11643794",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11643794",
"score": null,
"sort": [
1517601981000
]
},
"guestAuthors": [],
"slug": "inara-georges-songs-of-love-and-loss-shine-on",
"title": "Inara George's Songs of Love and Loss Shine on 'Dearest Everybody'",
"publishDate": 1517601981,
"format": "audio",
"headTitle": "Inara George’s Songs of Love and Loss Shine on ‘Dearest Everybody’ | KQED",
"labelTerm": {
"term": 72,
"site": "news"
},
"content": "\u003cp>\u003ca href=\"http://inarageorge.com/news/\" target=\"_blank\" rel=\"noopener\">Inara George\u003c/a> was born into the music business.\u003c/p>\n\u003cp>Her dad, \u003ca href=\"https://en.wikipedia.org/wiki/Lowell_George\" target=\"_blank\" rel=\"noopener\">Lowell George\u003c/a>, was the founder of the late ’70s rock band \u003ca href=\"http://www.littlefeat.net/\" target=\"_blank\" rel=\"noopener\">Little Feat\u003c/a>. But she’s followed her own creative path as an artist, with her long-running duo, \u003ca href=\"http://www.thebirdandthebee.com/news/\" target=\"_blank\" rel=\"noopener\">The Bird And The Bee\u003c/a>, the harmony-laden trio \u003ca href=\"https://www.npr.org/artists/126220776/the-living-sisters\" target=\"_blank\" rel=\"noopener\">The Living Sisters\u003c/a> and an orchestral collaboration with pop auteur \u003ca href=\"https://www.allmusic.com/artist/van-dyke-parks-mn0000838241/biography\" target=\"_blank\" rel=\"noopener\">Van Dyke Parks\u003c/a>.\u003c/p>\n\u003cp>The California Report Magazine’s Sasha Khokha talked to George about the themes of love and loss on her new solo album, “Dearest Everybody,” and the changing perspective that comes with age.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11643815 alignleft\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-800x800.jpg\" alt=\"\" width=\"296\" height=\"296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-150x150.jpg 150w\" sizes=\"(max-width: 296px) 100vw, 296px\">\u003c/p>\n\u003cp>\u003cem>On the influence of her father, who passed away when Inara was 5 years old:\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I feel very settled and comfortable knowing that I don’t have a father … and I’ve always been open about talking about him. I’m very proud to be his daughter, but [I] always [wanted] to kind of pave my own way and make music that reflected me.\u003c/p>\n\u003cp>When you’re the daughter of or the son of somebody — especially in the same field you’re going into — for a long time you’re always that: You’re the daughter of somebody. And so I think when I started out in music, that’s who I was. [The song ‘\u003ca href=\"https://www.youtube.com/watch?v=SLG_Zw4o90c\" target=\"_blank\" rel=\"noopener\">Young Adult’\u003c/a> is about] my first experience with music, and then slowly rolling out who I was, who I wanted to be, and how I wanted to express myself.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Inara George - Young Adult (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/SLG_Zw4o90c?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>On the importance of being comfortable with the uncomfortable:\u003c/em>\u003c/p>\n\u003cp>I wrote the song ‘\u003ca href=\"https://www.youtube.com/watch?v=IFsiDYBNaZc\" target=\"_blank\" rel=\"noopener\">Release Me’\u003c/a> for my mom. When you’ve been with somebody who’s larger than life, even though you feel like you’re moving on [after their death], people don’t always let you do that.\u003c/p>\n\u003cp>I didn’t think I was going to put it on the record. I felt like I was a little too personal … but then my producer thought I should, so I did! It’s very honest and emotional and sometimes uncomfortable, but [something] I’ve discovered about myself is, if you’re not uncomfortable, I don’t think it’s necessarily worth doing all the time.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Inara George - Release Me (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/IFsiDYBNaZc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>On playing sad songs in front of an audience:\u003c/em>\u003c/p>\n\u003cp>I remember the first time we played these songs in front of an audience, I was really nervous. I was nervous about being so forthcoming about my own experiences. And then once I played them, it was actually really cathartic. Especially because I feel like death is something that I’ve experienced a lot in my life from a young age. And it’s painful and hard, but sometimes it’s very beautiful and just as important to celebrate as birth is.\u003c/p>\n\u003cfigure id=\"attachment_11643853\" class=\"wp-caption alignleft\" style=\"max-width: 226px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11643853\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-800x1200.jpg\" alt=\"\" width=\"226\" height=\"339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-520x780.jpg 520w\" sizes=\"(max-width: 226px) 100vw, 226px\">\u003cfigcaption class=\"wp-caption-text\">Inara George believes that “death is just as important to celebrate as birth is.” \u003ccite>(Alexa Nikol Curran)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>On being a musician in her 40s:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Getting older can be complicated. It’s not that I don’t think that you can still be fun-loving and spontaneous and dance like there’s no tomorrow. But there is a difference in who we are, and how we grow and how we age. That was kind of the idea of the song ‘Slow Dance,’ [about dancing with a younger man]. That sort of painful feeling of growing, and leaving this younger version of ourselves behind.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The album is an ode to people in the singer-songwriter's life who have passed away. ",
"status": "publish",
"parent": 0,
"modified": 1721152904,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 597
},
"headData": {
"title": "Inara George's Songs of Love and Loss Shine on 'Dearest Everybody' | KQED",
"description": "The album is an ode to people in the singer-songwriter's life who have passed away. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Inara George's Songs of Love and Loss Shine on 'Dearest Everybody'",
"datePublished": "2018-02-02T12:06:21-08:00",
"dateModified": "2024-07-16T11:01:44-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/tcrmag/2018/02/20180202btcrmag.mp3",
"sticky": false,
"path": "/news/11643794/inara-georges-songs-of-love-and-loss-shine-on",
"audioDuration": 426000,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://inarageorge.com/news/\" target=\"_blank\" rel=\"noopener\">Inara George\u003c/a> was born into the music business.\u003c/p>\n\u003cp>Her dad, \u003ca href=\"https://en.wikipedia.org/wiki/Lowell_George\" target=\"_blank\" rel=\"noopener\">Lowell George\u003c/a>, was the founder of the late ’70s rock band \u003ca href=\"http://www.littlefeat.net/\" target=\"_blank\" rel=\"noopener\">Little Feat\u003c/a>. But she’s followed her own creative path as an artist, with her long-running duo, \u003ca href=\"http://www.thebirdandthebee.com/news/\" target=\"_blank\" rel=\"noopener\">The Bird And The Bee\u003c/a>, the harmony-laden trio \u003ca href=\"https://www.npr.org/artists/126220776/the-living-sisters\" target=\"_blank\" rel=\"noopener\">The Living Sisters\u003c/a> and an orchestral collaboration with pop auteur \u003ca href=\"https://www.allmusic.com/artist/van-dyke-parks-mn0000838241/biography\" target=\"_blank\" rel=\"noopener\">Van Dyke Parks\u003c/a>.\u003c/p>\n\u003cp>The California Report Magazine’s Sasha Khokha talked to George about the themes of love and loss on her new solo album, “Dearest Everybody,” and the changing perspective that comes with age.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11643815 alignleft\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-800x800.jpg\" alt=\"\" width=\"296\" height=\"296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28969_dearest_everybody_hi_res-qut-150x150.jpg 150w\" sizes=\"(max-width: 296px) 100vw, 296px\">\u003c/p>\n\u003cp>\u003cem>On the influence of her father, who passed away when Inara was 5 years old:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I feel very settled and comfortable knowing that I don’t have a father … and I’ve always been open about talking about him. I’m very proud to be his daughter, but [I] always [wanted] to kind of pave my own way and make music that reflected me.\u003c/p>\n\u003cp>When you’re the daughter of or the son of somebody — especially in the same field you’re going into — for a long time you’re always that: You’re the daughter of somebody. And so I think when I started out in music, that’s who I was. [The song ‘\u003ca href=\"https://www.youtube.com/watch?v=SLG_Zw4o90c\" target=\"_blank\" rel=\"noopener\">Young Adult’\u003c/a> is about] my first experience with music, and then slowly rolling out who I was, who I wanted to be, and how I wanted to express myself.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Inara George - Young Adult (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/SLG_Zw4o90c?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>On the importance of being comfortable with the uncomfortable:\u003c/em>\u003c/p>\n\u003cp>I wrote the song ‘\u003ca href=\"https://www.youtube.com/watch?v=IFsiDYBNaZc\" target=\"_blank\" rel=\"noopener\">Release Me’\u003c/a> for my mom. When you’ve been with somebody who’s larger than life, even though you feel like you’re moving on [after their death], people don’t always let you do that.\u003c/p>\n\u003cp>I didn’t think I was going to put it on the record. I felt like I was a little too personal … but then my producer thought I should, so I did! It’s very honest and emotional and sometimes uncomfortable, but [something] I’ve discovered about myself is, if you’re not uncomfortable, I don’t think it’s necessarily worth doing all the time.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Inara George - Release Me (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/IFsiDYBNaZc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>On playing sad songs in front of an audience:\u003c/em>\u003c/p>\n\u003cp>I remember the first time we played these songs in front of an audience, I was really nervous. I was nervous about being so forthcoming about my own experiences. And then once I played them, it was actually really cathartic. Especially because I feel like death is something that I’ve experienced a lot in my life from a young age. And it’s painful and hard, but sometimes it’s very beautiful and just as important to celebrate as birth is.\u003c/p>\n\u003cfigure id=\"attachment_11643853\" class=\"wp-caption alignleft\" style=\"max-width: 226px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11643853\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-800x1200.jpg\" alt=\"\" width=\"226\" height=\"339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28971_inara1_full-qut-520x780.jpg 520w\" sizes=\"(max-width: 226px) 100vw, 226px\">\u003cfigcaption class=\"wp-caption-text\">Inara George believes that “death is just as important to celebrate as birth is.” \u003ccite>(Alexa Nikol Curran)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>On being a musician in her 40s:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Getting older can be complicated. It’s not that I don’t think that you can still be fun-loving and spontaneous and dance like there’s no tomorrow. But there is a difference in who we are, and how we grow and how we age. That was kind of the idea of the song ‘Slow Dance,’ [about dancing with a younger man]. That sort of painful feeling of growing, and leaving this younger version of ourselves behind.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11643794/inara-georges-songs-of-love-and-loss-shine-on",
"authors": [
"11365"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_1425",
"news_2320",
"news_17286"
],
"featImg": "news_11643811",
"label": "news_72"
},
"news_11644364": {
"type": "posts",
"id": "news_11644364",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11644364",
"score": null,
"sort": [
1517021737000
]
},
"guestAuthors": [],
"slug": "the-grammy-nominated-classical-star-youve-probably-never-heard-of",
"title": "The Grammy-Nominated Classical Star You've (Probably) Never Heard Of",
"publishDate": 1517021737,
"format": "standard",
"headTitle": "The Grammy-Nominated Classical Star You’ve (Probably) Never Heard Of | KQED",
"labelTerm": {
"term": 72,
"site": "news"
},
"content": "\u003cp>What does \u003ca href=\"http://adamschoenberg.com/\">Adam Schoenberg\u003c/a> have in common with Body Count, Los Amigos Invisibles and the entire cast of Hello Dolly?\u003c/p>\n\u003cp>At the tender age of 37, the classical composer is up for two Grammys this weekend, including Best Contemporary Classical Composition for his work “Picture Studies,” and Best Engineered Album, Classical.\u003c/p>\n\u003cp>You may not be aware of this guy, but in the classical world, Schoenberg’s work is so popular he’s made the annual list of the top 10 most performed living composers in the country. Twice.\u003c/p>\n\u003cp>Since he began composing professionally in 2006 when he was still a doctoral student at Juilliard, his writing has been commissioned by the Los Angeles Philharmonic, the Kansas City Symphony, the Atlanta Symphony Orchestra, among others, and his compositions have premiered at venues like Lincoln Center, the Library of Congress, the Kennedy Center and the Hollywood Bowl.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcrmag/2018/01/GilstrapComposer.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-1180x885.jpg\" Title=\"The Grammy-Nominated Classical Star You've (Probably) Never Heard Of\" program=\"The California Report\"]\u003c/p>\n\u003cp>Schoenberg combines that life with his work as an assistant professor specializing in composition and film scoring at Occidental College in the small community of Eagle Rock in Los Angeles. It’s also the school where a fellow named Barack Obama spent his first two years of higher education.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Walk into the leafy, Zen-like courtyard of the small music building at Occidental, pass the tiered, cascading fountain and it’s not hard to find Adam Schoenberg’s corner studio.\u003c/p>\n\u003cp>Just follow the sounds of the piano. Whether he’s teaching or composing, things for this man pretty much center around 88 keys.\u003c/p>\n\u003cp>Though he’s actually a very distant relation to George Gershwin, Schoenberg’s music is quite close in spirit, and it’s drawn comparisons to his iconic relative and other big names. Not all of them classical.\u003c/p>\n\u003cp>“One of the greatest compliments I’ve ever had is someone came up to me and said, ‘your music sounds like Radiohead meeting Aaron Copland,’” says Schoenberg. “In my car I have Sirius radio and I listen to Lithium, which is Stone Temple Pilots and Nirvana, and Backspin, which is hip-hop from the ‘80’s and ‘90’s. I really do feel my music embraces the pop idiom or hip-hop idiom because it’s part of my DNA. So yeah, I embody the music of our time and put a little twist to it.”\u003c/p>\n\u003cp>[contextly_sidebar id=”IbO0TgUTXm4nc25SH1iEgT1mMZ71tb4d”]\u003c/p>\n\u003cp>Much of Schoenberg’s work has a cinematic feel.\u003c/p>\n\u003cp>“I was drawn to soundtracks, but we didn’t really own soundtracks,” he says. “My father is also a film composer, and when we would go see movies we always stayed to the end of the credits. And we would always listen, we’d be the last people in the theater.”\u003c/p>\n\u003cp>Schoenberg is prolific, but his creative process begins with sitting down and winging it.\u003c/p>\n\u003cp>“I’ll improvise for hours upon hours, record my improvisations and then I’ll extract a chord progression, it could be just a note, it could be a melody, it could be a texture, it could be a rhythm. Then I’ll start to sculpt it and craft it, and at that point I begin to think of myself as an architect building from this base material.”\u003c/p>\n\u003cp>He’s got computers and keyboards to capture those nuggets, but inspiration won’t always wait until a man’s in his studio.\u003c/p>\n\u003cp>“For right now, I basically record on my iPhone,” he says. \u003c/p>\n\u003cp>Sure enough, he’s got all manner of fragments stowed away on his voice memo, bits of singing with his young sons yelling in the background, a few skeletal notes on a piano, chords that repeat over and over as he searches for a path to open up.\u003c/p>\n\u003cp>In fact, from one 27-second bit of humble warbling sprang the opening line of Schoenberg’s upcoming work, “Orchard in Fog.”\u003c/p>\n\u003cfigure id=\"attachment_11644688\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-800x1149.jpg\" alt=\"Violinist Anne Akiko Meyers commissioned Adam Schoenberg's first violin concerto.\" width=\"800\" height=\"1149\" class=\"size-medium wp-image-11644688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-800x1149.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-1020x1465.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-1180x1695.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-960x1379.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-240x345.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-375x539.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-520x747.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Violinist Anne Akiko Meyers commissioned Adam Schoenberg’s first violin concerto. \u003ccite>(Courtesy David Zentz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s based on a photograph by Adam Laipson, who’s from the same town in Massachusetts where I grew up, Salem, but not the witch one,” says Schoenberg. “My wife and I got married in an apple orchard on a gorgeous farm, quintessential New England, and Adam happened to take a photograph of the orchard in the winter. It’s haunting and beautiful. It’s in our bedroom and I wake up to it every single morning.”\u003c/p>\n\u003cp>The piece is his first violin concerto, and it will have its world premiere \u003ca href=\"http://purchasing.sandiegosymphony.org/single/eventDetail.aspx?p=6361\">February 10 with the San Diego Symphony\u003c/a> featuring renowned concert violinist Anne Akiko Meyers, who commissioned the piece. But right now it’s still very much a work in progress, and will be so down to the wire.\u003c/p>\n\u003cp>“Oh yeah,” says Schoenberg. “I’ll be in my hotel room in San Diego making changes to this.”\u003c/p>\n\u003cp>“Oh God, I don’t want to hear that!” laughs Meyers. “I really wish you didn’t tell me that! Composers.”\u003c/p>\n\u003cp>But Meyers, the consummate pro, will no doubt come through in the clinch. And after all, she commissioned the work, and she’s a big fan.\u003c/p>\n\u003cp>“His music is easily accessible and I mean that in the best sense,” she says. “Like a lot of other music can be non-transparent, and you feel like you almost need a degree in some kind of science to understand what is going on, but there’s none of that with Adam’s music. It just speaks to you, and it speaks simply and beautifully.”\u003c/p>\n\u003cp>“I think in the 21st Century we’re sort of at this renaissance,” Schoenberg says. “Every kid who gets a laptop can write a track and upload it to Youtube and say, ‘I wrote this.’ And at that point you have to figure out your voice, who you are, what it is you want to say and then how you’re going to distinguish yourself. But that’s a lifelong journey, I suppose.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At this point, Schoenberg’s well on the road, and the next stop is New York City for the Grammy Awards. After that, it’s back to the piano.\u003c/p>\n\n",
"blocks": [],
"excerpt": "In the classical world, Adam Schoenberg’s work is so popular he’s made the annual list of the top 10 most-performed living composers in the country. Twice.",
"status": "publish",
"parent": 0,
"modified": 1721113910,
"stats": {
"hasAudio": true,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 28,
"wordCount": 1143
},
"headData": {
"title": "The Grammy-Nominated Classical Star You've (Probably) Never Heard Of | KQED",
"description": "In the classical world, Adam Schoenberg’s work is so popular he’s made the annual list of the top 10 most-performed living composers in the country. Twice.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "The Grammy-Nominated Classical Star You've (Probably) Never Heard Of",
"datePublished": "2018-01-26T18:55:37-08:00",
"dateModified": "2024-07-16T00:11:50-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"sticky": false,
"path": "/news/11644364/the-grammy-nominated-classical-star-youve-probably-never-heard-of",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/tcrmag/2018/01/GilstrapComposer.mp3",
"audioDuration": 348000,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does \u003ca href=\"http://adamschoenberg.com/\">Adam Schoenberg\u003c/a> have in common with Body Count, Los Amigos Invisibles and the entire cast of Hello Dolly?\u003c/p>\n\u003cp>At the tender age of 37, the classical composer is up for two Grammys this weekend, including Best Contemporary Classical Composition for his work “Picture Studies,” and Best Engineered Album, Classical.\u003c/p>\n\u003cp>You may not be aware of this guy, but in the classical world, Schoenberg’s work is so popular he’s made the annual list of the top 10 most performed living composers in the country. Twice.\u003c/p>\n\u003cp>Since he began composing professionally in 2006 when he was still a doctoral student at Juilliard, his writing has been commissioned by the Los Angeles Philharmonic, the Kansas City Symphony, the Atlanta Symphony Orchestra, among others, and his compositions have premiered at venues like Lincoln Center, the Library of Congress, the Kennedy Center and the Hollywood Bowl.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "audio",
"attributes": {
"named": {
"src": "https://www.kqed.org/.stream/anon/radio/tcrmag/2018/01/GilstrapComposer.mp3",
"image": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-1180x885.jpg",
"title": "The Grammy-Nominated Classical Star You've (Probably) Never Heard Of",
"program": "The California Report",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Schoenberg combines that life with his work as an assistant professor specializing in composition and film scoring at Occidental College in the small community of Eagle Rock in Los Angeles. It’s also the school where a fellow named Barack Obama spent his first two years of higher education.\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>Walk into the leafy, Zen-like courtyard of the small music building at Occidental, pass the tiered, cascading fountain and it’s not hard to find Adam Schoenberg’s corner studio.\u003c/p>\n\u003cp>Just follow the sounds of the piano. Whether he’s teaching or composing, things for this man pretty much center around 88 keys.\u003c/p>\n\u003cp>Though he’s actually a very distant relation to George Gershwin, Schoenberg’s music is quite close in spirit, and it’s drawn comparisons to his iconic relative and other big names. Not all of them classical.\u003c/p>\n\u003cp>“One of the greatest compliments I’ve ever had is someone came up to me and said, ‘your music sounds like Radiohead meeting Aaron Copland,’” says Schoenberg. “In my car I have Sirius radio and I listen to Lithium, which is Stone Temple Pilots and Nirvana, and Backspin, which is hip-hop from the ‘80’s and ‘90’s. I really do feel my music embraces the pop idiom or hip-hop idiom because it’s part of my DNA. So yeah, I embody the music of our time and put a little twist to it.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Much of Schoenberg’s work has a cinematic feel.\u003c/p>\n\u003cp>“I was drawn to soundtracks, but we didn’t really own soundtracks,” he says. “My father is also a film composer, and when we would go see movies we always stayed to the end of the credits. And we would always listen, we’d be the last people in the theater.”\u003c/p>\n\u003cp>Schoenberg is prolific, but his creative process begins with sitting down and winging it.\u003c/p>\n\u003cp>“I’ll improvise for hours upon hours, record my improvisations and then I’ll extract a chord progression, it could be just a note, it could be a melody, it could be a texture, it could be a rhythm. Then I’ll start to sculpt it and craft it, and at that point I begin to think of myself as an architect building from this base material.”\u003c/p>\n\u003cp>He’s got computers and keyboards to capture those nuggets, but inspiration won’t always wait until a man’s in his studio.\u003c/p>\n\u003cp>“For right now, I basically record on my iPhone,” he says. \u003c/p>\n\u003cp>Sure enough, he’s got all manner of fragments stowed away on his voice memo, bits of singing with his young sons yelling in the background, a few skeletal notes on a piano, chords that repeat over and over as he searches for a path to open up.\u003c/p>\n\u003cp>In fact, from one 27-second bit of humble warbling sprang the opening line of Schoenberg’s upcoming work, “Orchard in Fog.”\u003c/p>\n\u003cfigure id=\"attachment_11644688\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-800x1149.jpg\" alt=\"Violinist Anne Akiko Meyers commissioned Adam Schoenberg's first violin concerto.\" width=\"800\" height=\"1149\" class=\"size-medium wp-image-11644688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-800x1149.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-1020x1465.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-1180x1695.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-960x1379.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-240x345.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-375x539.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-520x747.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Violinist Anne Akiko Meyers commissioned Adam Schoenberg’s first violin concerto. \u003ccite>(Courtesy David Zentz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s based on a photograph by Adam Laipson, who’s from the same town in Massachusetts where I grew up, Salem, but not the witch one,” says Schoenberg. “My wife and I got married in an apple orchard on a gorgeous farm, quintessential New England, and Adam happened to take a photograph of the orchard in the winter. It’s haunting and beautiful. It’s in our bedroom and I wake up to it every single morning.”\u003c/p>\n\u003cp>The piece is his first violin concerto, and it will have its world premiere \u003ca href=\"http://purchasing.sandiegosymphony.org/single/eventDetail.aspx?p=6361\">February 10 with the San Diego Symphony\u003c/a> featuring renowned concert violinist Anne Akiko Meyers, who commissioned the piece. But right now it’s still very much a work in progress, and will be so down to the wire.\u003c/p>\n\u003cp>“Oh yeah,” says Schoenberg. “I’ll be in my hotel room in San Diego making changes to this.”\u003c/p>\n\u003cp>“Oh God, I don’t want to hear that!” laughs Meyers. “I really wish you didn’t tell me that! Composers.”\u003c/p>\n\u003cp>But Meyers, the consummate pro, will no doubt come through in the clinch. And after all, she commissioned the work, and she’s a big fan.\u003c/p>\n\u003cp>“His music is easily accessible and I mean that in the best sense,” she says. “Like a lot of other music can be non-transparent, and you feel like you almost need a degree in some kind of science to understand what is going on, but there’s none of that with Adam’s music. It just speaks to you, and it speaks simply and beautifully.”\u003c/p>\n\u003cp>“I think in the 21st Century we’re sort of at this renaissance,” Schoenberg says. “Every kid who gets a laptop can write a track and upload it to Youtube and say, ‘I wrote this.’ And at that point you have to figure out your voice, who you are, what it is you want to say and then how you’re going to distinguish yourself. But that’s a lifelong journey, I suppose.”\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>At this point, Schoenberg’s well on the road, and the next stop is New York City for the Grammy Awards. After that, it’s back to the piano.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11644364/the-grammy-nominated-classical-star-youve-probably-never-heard-of",
"authors": [
"11275"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_19133",
"news_2299",
"news_1425",
"news_17286"
],
"featImg": "news_11644596",
"label": "news_72"
},
"news_11642039": {
"type": "posts",
"id": "news_11642039",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11642039",
"score": null,
"sort": [
1516024836000
]
},
"guestAuthors": [],
"slug": "it-may-look-the-same-but-olympic-figure-skating-will-sound-different-in-2018",
"title": "It May Look the Same, But Olympic Figure Skating Will Sound Different in 2018",
"publishDate": 1516024836,
"format": "standard",
"headTitle": "It May Look the Same, But Olympic Figure Skating Will Sound Different in 2018 | KQED",
"labelTerm": {},
"content": "\u003cp>During the Pyeongchang 2018 Winter Olympics, figure skaters will still dazzle audiences with triple axles and quadruple salchows and routines presented with elegance.\u003c/p>\n\u003cp>But this year the sport might sound different: Pyeongchang will be the first Olympics where skaters in the men’s, women’s and pairs categories can use vocal music in their routines.\u003c/p>\n\u003cp>The change isn’t new; the International Skating Union voted on the issue in 2012. But the vote included a provision that the change would take place in the 2014-15 season — after the Sochi Olympics finished.\u003c/p>\n\u003cp>The decision came as the governing body hopes to reach a wider audience — and after the U.S. Championships it seems like that may be working.\u003c/p>\n\u003cp>At the U.S. National Championships in San Jose, Calif., skater Jimmy Ma started his short program routine with music that left the commentators disagreeing about what genre it was. Then about halfway through, the bass dropped and Lil Jon’s voice belted out “turn down for what?” That’s when the crowd went crazy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=Ar0e16LVAq8&w=560&h=315]\u003c/p>\n\u003cp>Audiences should expect to see more routines set to music with lyrics, be it from a rapper like Lil Jon or one of the many hits from Hamilton, \u003cem>USA Today \u003c/em>sports reporter Maggie Hendricks told \u003cem>All Things Considered \u003c/em>host Kelly McEvers, adding that it makes for fun, engaging moments on the ice.\u003c/p>\n\u003cp>“And why not? Figure skating should be fun,” she said.\u003c/p>\n\u003cp>[contextly_sidebar id=”FHGrqtBwRHajdjSIVomCn5pFiUSp0LyY”]\u003c/p>\n\u003cp>By allowing music with vocals, Hendricks says the audience can get to know the skaters in more ways than before, pointing out that for Ma chose a piece a very different piece, a composition by Sergei Rachmaninoff, for his long program.\u003c/p>\n\u003cp>“So, you know, we have this balance of skater and learning about who they are in ways that we never could when you were having lyricless music or just classical pieces or opera pieces,” she says. “You’re just getting this whole new side of them.”\u003c/p>\n\u003cp>This is definitely the case with one of Hendricks’ favorite skating performances to vocal music: Last year Yuzuru Hanyu, the reigning world champion and Olympic champion, chose to perform “Let’s Go Crazy” by Prince at the International Skating Union’s Grand Prix in 2016.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=yX7TGkEEH2A&w=560&h=315]\u003c/p>\n\u003cp>“He’s one of the best skaters to ever walk this earth,” she says. “He has very much a rock star swagger. In Japan, he is a rock star. The way he brings the spins, you start to see Prince’s music happening on the ice when you see Yuzuru Hanyu skate to it. … And even at one point, he sort of takes his leg behind his head and plays it like he’s playing a guitar.”\u003c/p>\n\u003cp>Though many performances involving vocal music were a hit, Hendricks says sometimes they don’t work out so well.\u003c/p>\n\u003cp>“Tessa Virtue and Scott Moir are Canadian figure skaters … an amazing pair, but in their short program they have — sandwiched between ‘Oye Como Va’ and ‘Sympathy For The Devil,’ — ‘Hotel California’ by The Eagles,” Hendricks says. “It’s just so disappointing.”\u003c/p>\n\u003cp>However, Ma’s performance and others’, including \u003ca href=\"https://www.youtube.com/watch?v=BwhRhgXDajI&t=191s\" target=\"_blank\" rel=\"noopener\">Jason Brown’s\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=4vFOcOPq2O0&t=4s\" target=\"_blank\" rel=\"noopener\">Bradie Tennell’s,\u003c/a> did catch the attention of some who expressed their approval of the policy change on Twitter.\u003c/p>\n\u003cp>“When a figure skating program goes viral, there’s somebody watching that somewhere and saying, ‘hey, maybe I can try figure skating,’ And that is a huge part of the Olympics … every sport gets a little bump,” Hendricks says. “It gets some people interested in it and trying it, because they’ve saw it and they saw something in it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t know if all of the young kids out there would have necessarily seen something of themselves in the Rachmaninoff, but they sure as heck would see it in the Lil Jon version.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It+May+Look+The+Same%2C+But+Olympic+Figure+Skating+Will+Sound+Different+In+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The Winter Olympics in Pyeongchang will be the first to allow figure skaters to perform to vocal music. ",
"status": "publish",
"parent": 0,
"modified": 1721113748,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 734
},
"headData": {
"title": "It May Look the Same, But Olympic Figure Skating Will Sound Different in 2018 | KQED",
"description": "The Winter Olympics in Pyeongchang will be the first to allow figure skaters to perform to vocal music. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "It May Look the Same, But Olympic Figure Skating Will Sound Different in 2018",
"datePublished": "2018-01-15T06:00:36-08:00",
"dateModified": "2024-07-16T00:09:08-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"source": "NPR",
"sourceUrl": "www.npr.org",
"sticky": false,
"nprImageCredit": "Matthew Stockman",
"nprByline": "\u003cstrong/>Wynne Davis\u003c/strong>",
"nprImageAgency": "Getty Images",
"nprStoryId": "577405707",
"nprApiLink": "http://api.npr.org/query?id=577405707&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/sections/thetorch/2018/01/13/577405707/it-may-look-the-same-but-olympic-figure-skating-will-sound-different-in-2018?ft=nprml&f=577405707",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 13 Jan 2018 10:33:00 -0500",
"nprStoryDate": "Sat, 13 Jan 2018 10:33:25 -0500",
"nprLastModifiedDate": "Sat, 13 Jan 2018 10:41:23 -0500",
"path": "/news/11642039/it-may-look-the-same-but-olympic-figure-skating-will-sound-different-in-2018",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the Pyeongchang 2018 Winter Olympics, figure skaters will still dazzle audiences with triple axles and quadruple salchows and routines presented with elegance.\u003c/p>\n\u003cp>But this year the sport might sound different: Pyeongchang will be the first Olympics where skaters in the men’s, women’s and pairs categories can use vocal music in their routines.\u003c/p>\n\u003cp>The change isn’t new; the International Skating Union voted on the issue in 2012. But the vote included a provision that the change would take place in the 2014-15 season — after the Sochi Olympics finished.\u003c/p>\n\u003cp>The decision came as the governing body hopes to reach a wider audience — and after the U.S. Championships it seems like that may be working.\u003c/p>\n\u003cp>At the U.S. National Championships in San Jose, Calif., skater Jimmy Ma started his short program routine with music that left the commentators disagreeing about what genre it was. Then about halfway through, the bass dropped and Lil Jon’s voice belted out “turn down for what?” That’s when the crowd went crazy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\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/Ar0e16LVAq8'\n title='//www.youtube.com/embed/Ar0e16LVAq8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Audiences should expect to see more routines set to music with lyrics, be it from a rapper like Lil Jon or one of the many hits from Hamilton, \u003cem>USA Today \u003c/em>sports reporter Maggie Hendricks told \u003cem>All Things Considered \u003c/em>host Kelly McEvers, adding that it makes for fun, engaging moments on the ice.\u003c/p>\n\u003cp>“And why not? Figure skating should be fun,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>By allowing music with vocals, Hendricks says the audience can get to know the skaters in more ways than before, pointing out that for Ma chose a piece a very different piece, a composition by Sergei Rachmaninoff, for his long program.\u003c/p>\n\u003cp>“So, you know, we have this balance of skater and learning about who they are in ways that we never could when you were having lyricless music or just classical pieces or opera pieces,” she says. “You’re just getting this whole new side of them.”\u003c/p>\n\u003cp>This is definitely the case with one of Hendricks’ favorite skating performances to vocal music: Last year Yuzuru Hanyu, the reigning world champion and Olympic champion, chose to perform “Let’s Go Crazy” by Prince at the International Skating Union’s Grand Prix in 2016.\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/yX7TGkEEH2A'\n title='//www.youtube.com/embed/yX7TGkEEH2A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“He’s one of the best skaters to ever walk this earth,” she says. “He has very much a rock star swagger. In Japan, he is a rock star. The way he brings the spins, you start to see Prince’s music happening on the ice when you see Yuzuru Hanyu skate to it. … And even at one point, he sort of takes his leg behind his head and plays it like he’s playing a guitar.”\u003c/p>\n\u003cp>Though many performances involving vocal music were a hit, Hendricks says sometimes they don’t work out so well.\u003c/p>\n\u003cp>“Tessa Virtue and Scott Moir are Canadian figure skaters … an amazing pair, but in their short program they have — sandwiched between ‘Oye Como Va’ and ‘Sympathy For The Devil,’ — ‘Hotel California’ by The Eagles,” Hendricks says. “It’s just so disappointing.”\u003c/p>\n\u003cp>However, Ma’s performance and others’, including \u003ca href=\"https://www.youtube.com/watch?v=BwhRhgXDajI&t=191s\" target=\"_blank\" rel=\"noopener\">Jason Brown’s\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=4vFOcOPq2O0&t=4s\" target=\"_blank\" rel=\"noopener\">Bradie Tennell’s,\u003c/a> did catch the attention of some who expressed their approval of the policy change on Twitter.\u003c/p>\n\u003cp>“When a figure skating program goes viral, there’s somebody watching that somewhere and saying, ‘hey, maybe I can try figure skating,’ And that is a huge part of the Olympics … every sport gets a little bump,” Hendricks says. “It gets some people interested in it and trying it, because they’ve saw it and they saw something in it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t know if all of the young kids out there would have necessarily seen something of themselves in the Rachmaninoff, but they sure as heck would see it in the Lil Jon version.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It+May+Look+The+Same%2C+But+Olympic+Figure+Skating+Will+Sound+Different+In+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11642039/it-may-look-the-same-but-olympic-figure-skating-will-sound-different-in-2018",
"authors": [
"byline_news_11642039"
],
"programs": [
"news_6944",
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_1425",
"news_2808",
"news_34078"
],
"featImg": "news_11642040",
"label": "source_news_11642039"
},
"news_11641425": {
"type": "posts",
"id": "news_11641425",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11641425",
"score": null,
"sort": [
1515801961000
]
},
"guestAuthors": [],
"slug": "hop-in-your-lyft-rapper-has-arrived",
"title": "Hop in, Your Lyft Rapper Has Arrived",
"publishDate": 1515801961,
"format": "audio",
"headTitle": "Hop in, Your Lyft Rapper Has Arrived | KQED",
"labelTerm": {
"term": 72,
"site": "news"
},
"content": "\u003cp>For anyone who has taken a Lyft ride, the signature bell sound announcing the driver’s arrival might be the only sound they hear for the duration of the trip.\u003c/p>\n\u003cp>Ride-hailing can be a silent and somewhat awkward experience. But one Bay Area driver seeks to establish a human connection with everyone who steps into his white Prius, with some spontaneous entertainment.\u003c/p>\n\u003cfigure id=\"attachment_11641436\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11641436\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-960x608.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-520x329.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut.jpg 1137w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashel Eldridge has a YouTube channel called the Legend of the Lyft Rapper. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-based Ashel Eldridge calls himself The Lyft Rapper. He asks his passengers to come up with a topic and a style of music, and he makes up a song, on the spot, while driving to the destination.\u003c/p>\n\u003cp>Riders often make goofy requests — asking for songs about deli sandwiches, pizza or popcorn — but Eldridge’s freestyle flows often gravitate into more complex commentary about social issues.\u003c/p>\n\u003cp>He says he loves it when riders request songs about immigration, gentrification or community health.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LDA1N2Y3gag\u003c/p>\n\u003cp>Elridge, who also goes by the emcee name Seasunz, says his mission is to elevate the consciousness of his community by helping people understand the forces that may be manipulating them.\u003c/p>\n\u003cp>His passengers say they’re startled at first when their Lyft driver begins rapping to them. But after the song, they admit the Lyft Rapper has turned a typically mundane trip into an unforgettable experience.\u003c/p>\n\u003cp>“Clearly I got to witness a very high level of creativity and being able to think on the spot,” said Tom Cheng, a UC Berkeley student.\u003c/p>\n\u003cp>Cheng, who was on his way to take the GRE, asked Eldridge to rap about anxiety and uncertainty.\u003c/p>\n\u003cfigure id=\"attachment_11641433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11641433\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Cheng was on his way to take the GRE when he met — and was sung to by — the Lyft Rapper. \u003ccite>(Allen Young/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think everyone has a very interesting life story, and [the Lyft Rapper] is definitely one that should be heard,” said Cheng.\u003c/p>\n\u003cp>Eldridge said he started rapping for his ride-hailing passengers a few years ago as a way to pass the time behind the wheel.\u003c/p>\n\u003cp>Eventually, he decided to turn it into a show for his YouTube channel called \u003ca href=\"https://www.youtube.com/channel/UCDc1Jp-2EIDmYsA7q1r-9lQ\" target=\"_blank\" rel=\"noopener\">The Legend of the Lyft Rapper\u003c/a>. The beats are all copyright-free. After the song, passengers give their consent to be recorded.\u003c/p>\n\u003cfigure id=\"attachment_11641440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11641440\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eldridge grew up in Chicago, where his grandfather was a preacher. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eldridge draws inspiration from his family, starting with his grandfather, who was a minister. As a boy growing up in Chicago, Eldridge would sit in church each week and listen to his grandfather preach.\u003c/p>\n\u003cp>“It’s poetry,” said Eldridge, describing his grandfather. “How he [starts] the sermon, how he ends it, what he says and doesn’t say, his pausing, how he raises his voice, all that I was attracted to. … It was the storytelling.”\u003c/p>\n\u003cp>Eldridge said he hopes the stories he’s telling through his songs provide his passengers with a greater awareness of the forces that impact their stress and well-being.\u003c/p>\n\u003cfigure id=\"attachment_11641441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11641441\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-800x373.png\" alt=\"\" width=\"800\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-800x373.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-160x75.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-1020x476.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-1180x551.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-960x448.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-240x112.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-375x175.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-520x243.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670.png 1665w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eldridge is part of a nonprofit called Hip Hop is Green, which uses live hip hop to raise awareness about community health. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His activism extends beyond the driver’s seat: Eldridge is part of a nonprofit called Hip Hop is Green, which hosts dinners and uses live hip-hop to raise awareness about community health.\u003c/p>\n\u003cp>He says he learned about the importance of healthy eating from his grandmother, who died of diabetes, and his aunt, Geraldine Eldridge, who was a former member of the Black Panther Party. The Panthers are known in part for creating an array of community social programs, including free breakfasts for school kids.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7PJIt4vp1BU\u003c/p>\n\u003cp>Eldridge believes that new forms of in-person performance art will naturally emerge as workers are replaced by machines, including drivers for ride-hailing companies as companies convert to driverless cars.\u003c/p>\n\u003cp>While machines can replace drivers, Eldridge argues that companies won’t be able to replace the human connection that people crave to avoid loneliness throughout the day.\u003c/p>\n\u003cp>“It’s something inherently human to create art, which is based off the moment,” Eldridge said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s based off of the bumps in the road, the left turn or right turn, what we ate today. What’s going in the news, what’s going on in people’s personal lives. All those things are playing into the music.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "Oakland’s Ashel Eldridge calls himself the Lyft Rapper, freestyling for passengers about goofy topics and more serious issues like immigration and gentrification.",
"status": "publish",
"parent": 0,
"modified": 1726009170,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 23,
"wordCount": 764
},
"headData": {
"title": "Hop in, Your Lyft Rapper Has Arrived | KQED",
"description": "Oakland’s Ashel Eldridge calls himself the Lyft Rapper, freestyling for passengers about goofy topics and more serious issues like immigration and gentrification.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Hop in, Your Lyft Rapper Has Arrived",
"datePublished": "2018-01-12T16:06:01-08:00",
"dateModified": "2024-09-10T15:59:30-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/tcrmag/2018/01/LyftRapper2.mp3",
"sticky": false,
"nprByline": "Allen Young",
"path": "/news/11641425/hop-in-your-lyft-rapper-has-arrived",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For anyone who has taken a Lyft ride, the signature bell sound announcing the driver’s arrival might be the only sound they hear for the duration of the trip.\u003c/p>\n\u003cp>Ride-hailing can be a silent and somewhat awkward experience. But one Bay Area driver seeks to establish a human connection with everyone who steps into his white Prius, with some spontaneous entertainment.\u003c/p>\n\u003cfigure id=\"attachment_11641436\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11641436\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-960x608.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-375x237.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut-520x329.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28829_23120117_934141496736552_2567588069972442369_o28129-qut.jpg 1137w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashel Eldridge has a YouTube channel called the Legend of the Lyft Rapper. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-based Ashel Eldridge calls himself The Lyft Rapper. He asks his passengers to come up with a topic and a style of music, and he makes up a song, on the spot, while driving to the destination.\u003c/p>\n\u003cp>Riders often make goofy requests — asking for songs about deli sandwiches, pizza or popcorn — but Eldridge’s freestyle flows often gravitate into more complex commentary about social issues.\u003c/p>\n\u003cp>He says he loves it when riders request songs about immigration, gentrification or community health.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LDA1N2Y3gag'\n title='//www.youtube.com/embed/LDA1N2Y3gag'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Elridge, who also goes by the emcee name Seasunz, says his mission is to elevate the consciousness of his community by helping people understand the forces that may be manipulating them.\u003c/p>\n\u003cp>His passengers say they’re startled at first when their Lyft driver begins rapping to them. But after the song, they admit the Lyft Rapper has turned a typically mundane trip into an unforgettable experience.\u003c/p>\n\u003cp>“Clearly I got to witness a very high level of creativity and being able to think on the spot,” said Tom Cheng, a UC Berkeley student.\u003c/p>\n\u003cp>Cheng, who was on his way to take the GRE, asked Eldridge to rap about anxiety and uncertainty.\u003c/p>\n\u003cfigure id=\"attachment_11641433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11641433\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28848_TomCheng2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Cheng was on his way to take the GRE when he met — and was sung to by — the Lyft Rapper. \u003ccite>(Allen Young/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think everyone has a very interesting life story, and [the Lyft Rapper] is definitely one that should be heard,” said Cheng.\u003c/p>\n\u003cp>Eldridge said he started rapping for his ride-hailing passengers a few years ago as a way to pass the time behind the wheel.\u003c/p>\n\u003cp>Eventually, he decided to turn it into a show for his YouTube channel called \u003ca href=\"https://www.youtube.com/channel/UCDc1Jp-2EIDmYsA7q1r-9lQ\" target=\"_blank\" rel=\"noopener\">The Legend of the Lyft Rapper\u003c/a>. The beats are all copyright-free. After the song, passengers give their consent to be recorded.\u003c/p>\n\u003cfigure id=\"attachment_11641440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11641440\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28833_12801194_10153934628935270_8627821588379718627_n-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eldridge grew up in Chicago, where his grandfather was a preacher. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eldridge draws inspiration from his family, starting with his grandfather, who was a minister. As a boy growing up in Chicago, Eldridge would sit in church each week and listen to his grandfather preach.\u003c/p>\n\u003cp>“It’s poetry,” said Eldridge, describing his grandfather. “How he [starts] the sermon, how he ends it, what he says and doesn’t say, his pausing, how he raises his voice, all that I was attracted to. … It was the storytelling.”\u003c/p>\n\u003cp>Eldridge said he hopes the stories he’s telling through his songs provide his passengers with a greater awareness of the forces that impact their stress and well-being.\u003c/p>\n\u003cfigure id=\"attachment_11641441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11641441\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-800x373.png\" alt=\"\" width=\"800\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-800x373.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-160x75.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-1020x476.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-1180x551.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-960x448.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-240x112.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-375x175.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670-520x243.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/RS28830_alt_670.png 1665w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eldridge is part of a nonprofit called Hip Hop is Green, which uses live hip hop to raise awareness about community health. \u003ccite>(Ashel Eldridge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His activism extends beyond the driver’s seat: Eldridge is part of a nonprofit called Hip Hop is Green, which hosts dinners and uses live hip-hop to raise awareness about community health.\u003c/p>\n\u003cp>He says he learned about the importance of healthy eating from his grandmother, who died of diabetes, and his aunt, Geraldine Eldridge, who was a former member of the Black Panther Party. The Panthers are known in part for creating an array of community social programs, including free breakfasts for school kids.\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/7PJIt4vp1BU'\n title='//www.youtube.com/embed/7PJIt4vp1BU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Eldridge believes that new forms of in-person performance art will naturally emerge as workers are replaced by machines, including drivers for ride-hailing companies as companies convert to driverless cars.\u003c/p>\n\u003cp>While machines can replace drivers, Eldridge argues that companies won’t be able to replace the human connection that people crave to avoid loneliness throughout the day.\u003c/p>\n\u003cp>“It’s something inherently human to create art, which is based off the moment,” Eldridge said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s based off of the bumps in the road, the left turn or right turn, what we ate today. What’s going in the news, what’s going on in people’s personal lives. All those things are playing into the music.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11641425/hop-in-your-lyft-rapper-has-arrived",
"authors": [
"byline_news_11641425"
],
"programs": [
"news_6944",
"news_72"
],
"categories": [
"news_223",
"news_457",
"news_8"
],
"tags": [
"news_19129",
"news_20013",
"news_18543",
"news_18477",
"news_4524",
"news_1425",
"news_17286"
],
"featImg": "news_11641437",
"label": "news_72"
},
"news_11636121": {
"type": "posts",
"id": "news_11636121",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11636121",
"score": null,
"sort": [
1512892878000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 72
},
"blocks": [],
"publishDate": 1512892878,
"format": "audio",
"disqusTitle": "From Berkeley to the Great Wall: Cal Band Director to Retire After 28 Years",
"title": "From Berkeley to the Great Wall: Cal Band Director to Retire After 28 Years",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Robert Calonico bleeds Berkeley blue and gold.\u003c/p>\n\u003cp>He grew up on UC Berkeley's campus, went to college there and has served as director of the school's marching band for 28 years.\u003c/p>\n\u003cp>During his tenure as the school's director of bands -- a position that includes leading the 225-piece \"Pride of California\" marching band and the 60-piece University Wind Ensemble -- Calonico has traveled around the globe with student musicians as they performed at countless school sporting events, all while gaining the respect and admiration of students and faculty from across Berkeley's campus.\u003c/p>\n\u003cp>On Wednesday, Calonico announced that he plans to \u003ca href=\"http://www.eastbaytimes.com/2017/12/06/beloved-cal-band-director-to-retire-on-high-note/\" target=\"_blank\" rel=\"noopener\">step down\u003c/a> from his position in June. I sat down with him in his office to talk about his time at Berkeley.\u003c/p>\n\u003cp>\u003cb>After 28 years of leading Cal’s bands, what’s your favorite memory?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’d have to say, with the marching band, performing at the Great Wall of China in 2016.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=seuwsrF3hzI\u003c/p>\n\u003cp>\u003cb>I’ve heard that you grew up in Berkeley. So you essentially bleed blue and gold, don’t you?\u003c/b>\u003c/p>\n\u003cp>“You know, a lot of students say, ‘Bob, the first three letters of your last name kind of say it all.’ C-A-L, so there it is. My dad did grad school here, and my mom was an undergrad. That’s where they met. Back in the day, they would tell us, ‘You can apply anywhere you want, but you’re going to Cal.’ ”\u003c/p>\n\u003cp>\u003cb>Can you tell me a little bit about your first time playing with the Cal band?\u003c/b>\u003c/p>\n\u003cp>“My brother was a sophomore here at the time. It was my first year, in 1972. There’s an explosion that goes off at pregame, and my brother didn’t say a word about it. And I marched right over that spot right before the bomb went off, and I must have jumped 6 feet in the air. He never told me until it actually happened. I found him on the sideline and go, ‘You didn’t tell me!’ He goes, ‘Well, of course I didn’t!’ ”\u003c/p>\n\u003cp>\u003cb>Can you tell me a little bit about your experience with students here at Berkeley?\u003c/b>\u003c/p>\n\u003cp>“They are incredible on every level -- just as people, and then as musicians and students. They’re just a joy to be around. With the marching band, it’s student leadership. There are five students who run the band and every aspect of it. And I’m maybe institutional memory -- a guider, if you will, a mentor at times. They chart the course of the band.”\u003c/p>\n\u003cp>\u003cb>I was a student at Berkeley not too long ago. I’ve seen firsthand the sense of community in Cal’s band. When you watch them perform, you see that they love every second of it. Can you tell me about the culture and how it’s evolved over the years?\u003c/b>\u003c/p>\n\u003cp>“That is one of the things I talk to potential students about. Find your community, whatever it is. If it’s gonna be working on the newspaper, or if it’s gonna be a fraternity or sorority -- whatever it is, it makes a place like this a lot smaller. It’s just so strange that I’ve been here all these years, and I can walk across campus, and there isn’t one time where I’ve not seen a student that I teach -- either in the band or in the wind ensemble or something. It’s just uncanny. It does make a community within a very large one.”\u003c/p>\n\u003cp>\u003cb>You’ve been all over the world with these bands. Is there one specific instance you can point to as the moment you were most proud to be director of Cal’s bands?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Being asked to be in Super Bowl 50. During a recording session with Will Champion, the drummer of Coldplay, he was as kind as can be to my students. And I mean that whole experience. And there was also a memorandum -- we had to not tell anyone that we were selected. So this all occurred in late December, and the performance wasn’t until the second week of February. So for six weeks, my students didn’t say a word. And they were warned: ‘If you do, they may pull you from the show,’ so I think the whole picture -- that whole Super Bowl experience in 2016 -- is probably way up there.”\u003c/p>\n\n",
"disqusIdentifier": "11636121 https://ww2.kqed.org/news/?p=11636121",
"disqusUrl": "https://ww2.kqed.org/news/2017/12/10/beloved-cal-band-director-to-retire-after-28-years/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 789,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1513034416,
"excerpt": "Berkeley-bred Robert Calonico reflects on his 28-year career leading bands at Cal. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Berkeley-bred Robert Calonico reflects on his 28-year career leading bands at Cal. ",
"title": "From Berkeley to the Great Wall: Cal Band Director to Retire After 28 Years | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "From Berkeley to the Great Wall: Cal Band Director to Retire After 28 Years",
"datePublished": "2017-12-10T00:01:18-08:00",
"dateModified": "2017-12-11T15:20:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"guestAuthors": [],
"slug": "beloved-cal-band-director-to-retire-after-28-years",
"status": "publish",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2017/12/CalBandextendedversion.mp3",
"path": "/news/11636121/beloved-cal-band-director-to-retire-after-28-years",
"audioDuration": 264000,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robert Calonico bleeds Berkeley blue and gold.\u003c/p>\n\u003cp>He grew up on UC Berkeley's campus, went to college there and has served as director of the school's marching band for 28 years.\u003c/p>\n\u003cp>During his tenure as the school's director of bands -- a position that includes leading the 225-piece \"Pride of California\" marching band and the 60-piece University Wind Ensemble -- Calonico has traveled around the globe with student musicians as they performed at countless school sporting events, all while gaining the respect and admiration of students and faculty from across Berkeley's campus.\u003c/p>\n\u003cp>On Wednesday, Calonico announced that he plans to \u003ca href=\"http://www.eastbaytimes.com/2017/12/06/beloved-cal-band-director-to-retire-on-high-note/\" target=\"_blank\" rel=\"noopener\">step down\u003c/a> from his position in June. I sat down with him in his office to talk about his time at Berkeley.\u003c/p>\n\u003cp>\u003cb>After 28 years of leading Cal’s bands, what’s your favorite memory?\u003c/b>\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>“I’d have to say, with the marching band, performing at the Great Wall of China in 2016.”\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/seuwsrF3hzI'\n title='//www.youtube.com/embed/seuwsrF3hzI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>I’ve heard that you grew up in Berkeley. So you essentially bleed blue and gold, don’t you?\u003c/b>\u003c/p>\n\u003cp>“You know, a lot of students say, ‘Bob, the first three letters of your last name kind of say it all.’ C-A-L, so there it is. My dad did grad school here, and my mom was an undergrad. That’s where they met. Back in the day, they would tell us, ‘You can apply anywhere you want, but you’re going to Cal.’ ”\u003c/p>\n\u003cp>\u003cb>Can you tell me a little bit about your first time playing with the Cal band?\u003c/b>\u003c/p>\n\u003cp>“My brother was a sophomore here at the time. It was my first year, in 1972. There’s an explosion that goes off at pregame, and my brother didn’t say a word about it. And I marched right over that spot right before the bomb went off, and I must have jumped 6 feet in the air. He never told me until it actually happened. I found him on the sideline and go, ‘You didn’t tell me!’ He goes, ‘Well, of course I didn’t!’ ”\u003c/p>\n\u003cp>\u003cb>Can you tell me a little bit about your experience with students here at Berkeley?\u003c/b>\u003c/p>\n\u003cp>“They are incredible on every level -- just as people, and then as musicians and students. They’re just a joy to be around. With the marching band, it’s student leadership. There are five students who run the band and every aspect of it. And I’m maybe institutional memory -- a guider, if you will, a mentor at times. They chart the course of the band.”\u003c/p>\n\u003cp>\u003cb>I was a student at Berkeley not too long ago. I’ve seen firsthand the sense of community in Cal’s band. When you watch them perform, you see that they love every second of it. Can you tell me about the culture and how it’s evolved over the years?\u003c/b>\u003c/p>\n\u003cp>“That is one of the things I talk to potential students about. Find your community, whatever it is. If it’s gonna be working on the newspaper, or if it’s gonna be a fraternity or sorority -- whatever it is, it makes a place like this a lot smaller. It’s just so strange that I’ve been here all these years, and I can walk across campus, and there isn’t one time where I’ve not seen a student that I teach -- either in the band or in the wind ensemble or something. It’s just uncanny. It does make a community within a very large one.”\u003c/p>\n\u003cp>\u003cb>You’ve been all over the world with these bands. Is there one specific instance you can point to as the moment you were most proud to be director of Cal’s bands?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Being asked to be in Super Bowl 50. During a recording session with Will Champion, the drummer of Coldplay, he was as kind as can be to my students. And I mean that whole experience. And there was also a memorandum -- we had to not tell anyone that we were selected. So this all occurred in late December, and the performance wasn’t until the second week of February. So for six weeks, my students didn’t say a word. And they were warned: ‘If you do, they may pull you from the show,’ so I think the whole picture -- that whole Super Bowl experience in 2016 -- is probably way up there.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11636121/beloved-cal-band-director-to-retire-after-28-years",
"authors": [
"11258"
],
"programs": [
"news_6944",
"news_72"
],
"categories": [
"news_223",
"news_18540",
"news_8"
],
"tags": [
"news_129",
"news_316",
"news_1425"
],
"featImg": "news_11636122",
"label": "news_72"
},
"news_11632699": {
"type": "posts",
"id": "news_11632699",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11632699",
"score": null,
"sort": [
1511463655000
]
},
"guestAuthors": [],
"slug": "the-sons-of-the-soul-revivers-lifting-up-spirits-outside-the-church-walls",
"title": "The Sons of the Soul Revivers: Lifting Up Spirits, Outside the Church Walls",
"publishDate": 1511463655,
"format": "standard",
"headTitle": "The Sons of the Soul Revivers: Lifting Up Spirits, Outside the Church Walls | KQED",
"labelTerm": {
"term": 72,
"site": "news"
},
"content": "\u003cp>Some families figure out their groove together by making music, like the Vallejo-based gospel quartet, \u003ca href=\"https://www.facebook.com/TheSonsOfTheSoulReviversOfSanFranciscoCA/\" target=\"_blank\" rel=\"noopener\">The Sons of the Soul Revivers\u003c/a>. The Morgan brothers – Dwayne, James and Walter Jr. have been singing together in church since they were kids. Now, together with their nephew Quantae Johnson, they’re moving beyond church walls to reach a broader audience with their new album, \u003ca href=\"https://store.cdbaby.com/cd/thesongsofthesoulreviver\" target=\"_blank\" rel=\"noopener\">Live at Rancho Nicasio\u003c/a>.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/11/SonsoftheSoulRevivers.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/sonsedit-960x427.jpg\" Title=\"The Sons of the Soul Revivers: Lifting Up Spirits, Outside the Church Walls\" program=\"The California Report\"]\u003c/p>\n\u003cp>The following is an excerpt from a conversation with Sasha Khokha, host of the California Report Magazine. They joined her in studio to talk religion, family, and what has kept their music full of life after more than 40 years. They also played a little in-studio concert!\u003c/p>\n\u003cp>\u003cem>On their name:\u003c/em>\u003c/p>\n\u003cp>Walter Morgan, Jr.: “Our fathers were the Soul Revivers, and the year was 1970. I was around the age of eight, and a cousin of mine, we decided we wanted to form a group and we couldn’t think of a name. So we said well temporarily we’ll call ourselves The Sons of the Soul Revivers and the name just stuck.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11632781\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28112_sons4-qut.jpg\" alt=\"\" width=\"464\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28112_sons4-qut.jpg 464w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28112_sons4-qut-160x182.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28112_sons4-qut-240x273.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28112_sons4-qut-375x427.jpg 375w\" sizes=\"(max-width: 464px) 100vw, 464px\">\u003c/p>\n\u003cp>\u003cem>On performing with family members:\u003c/em>\u003c/p>\n\u003cp>James Morgan: “It’s a joy to be able to get up there and sing with my brothers and nephew. The feeling I get when I hit the stage is just hard to describe. I mean it’s just one of the greatest feelings I ever felt. And it’s a blessing; it’s a privilege for me to be a part of this group.”\u003c/p>\n\u003cp>Quantae Johnson: “Man, it’s a dream come true. I was watching these guys since I was a little guy, and so to be able to be on the same level as them, it feels great.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-11632780 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28113_sons2-qut.jpg\" alt=\"\" width=\"480\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28113_sons2-qut.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28113_sons2-qut-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28113_sons2-qut-240x201.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28113_sons2-qut-375x313.jpg 375w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/p>\n\u003cp>\u003cem>On what inspires them:\u003c/em>\u003c/p>\n\u003cp>Dwayne Morgan: “[Our] belief in Jesus Christ, our Savior. It’s a way for us to express the gospel through song. We just love to sing. And it’s a joy to watch the audience. Sometimes people are down and out, and sometimes a song can be very uplifting. So that’s what we’re all about. We like to spread joy through our music, and we love what we do.”\u003c/p>\n\u003cp>Walter Morgan: “Sometimes the words, through the song, can settle the mind. Whatever you’re going through, it gives you hope. It’s been tough on a lot of folks this year. And when people get so depressed, they don’t where to turn to, you need something to fall back on, a kind word, a beautiful song. Anything that can help lift a burden.”\u003c/p>\n\u003cfigure id=\"attachment_11632743\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11632743\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-800x533.jpg\" alt=\"Dwayne, Walter Jr, and James Morgan -- the Sons of the Soul Revivers -- have been singing together for 47 years.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne, Walter Jr, and James Morgan — the Sons of the Soul Revivers — have been singing together for 47 years. \u003ccite>(Courtesy of The Sons of the Soul Revivers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>On reaching a broader audience outside of church, through their new album produced by the \u003ca href=\"http://littlevillagefoundation.com/\" target=\"_blank\" rel=\"noopener\">Little Village Foundation:\u003c/a>\u003c/em>\u003c/p>\n\u003cp>James Morgan: “It’s a thrill. What’s cool about it for me is we can be ourselves. We don’t have to pretend to be who we’re not. Sometimes I feel like a rock star. People will be surrounding me. We’re all having a good time. After 47 years of being together as a group, the difference between singing for a traditional church and going to these festivals, it’s incredible. We’re having the time of our lives.”\u003c/p>\n\u003cp>Dwayne Morgan: “It’s wonderful to see people smile. You may not believe it, but there a lot of people that are really searching, looking for that something spiritual. And then you get to be able to share Christ with them, and what we believe in. There’s people that might be suicidal and come to you and say, ‘You know what, I wanted to end my life. But when I heard you sing, I had a change of mind.'”\u003c/p>\n\u003cfigure id=\"attachment_11633011\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11633011\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/band1-800x533.jpg\" alt=\"Quantae Johnson and his uncle, Dwayne Morgan, of the Sons of the Soul Revivers, perform in KQED's studios on Nov. 21, 2017.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Quantae Johnson and his uncle, Dwayne Morgan, of the Sons of the Soul Revivers, perform in KQED’s studios on Nov. 21, 2017. \u003ccite>(Sarah Craig/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>On having a day job:\u003c/em>\u003c/p>\n\u003cp>Dwayne Morgan: “I’m a school bus driver, but I’m ready to go on the road . And when people hear me sing at the yards, they ask me ‘What are you doing here? Why are you here? Your calling is out there. You know you always talk about faith. You need to have faith and move on and go on the road.'”\u003c/p>\n\u003cp>James Morgan: “I used to deliver uniforms until I slipped and fell on the job. Unfortunately for me, I’m on disability. It is what it is. I’m learning to deal with the pain I’m in. But it has not replaced who I am. It has not replaced my joy.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Quantae Johnson: “I’m a touring musician. I do this for a living. Music is what I do. I breathe it. I’ve been a drummer for Fantastic Negrito, out of Oakland. It’s the same thing, people in the audience are going crazy. But to know what you’re singing about, I can appreciate that more. I like singing with my family.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "After singing together for 47 years, \"The Sons of the Soul Revivers\" are finding fame beyond traditional gospel audiences.",
"status": "publish",
"parent": 0,
"modified": 1721152500,
"stats": {
"hasAudio": true,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 953
},
"headData": {
"title": "The Sons of the Soul Revivers: Lifting Up Spirits, Outside the Church Walls | KQED",
"description": "After singing together for 47 years, "The Sons of the Soul Revivers" are finding fame beyond traditional gospel audiences.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "The Sons of the Soul Revivers: Lifting Up Spirits, Outside the Church Walls",
"datePublished": "2017-11-23T11:00:55-08:00",
"dateModified": "2024-07-16T10:55:00-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"sticky": false,
"path": "/news/11632699/the-sons-of-the-soul-revivers-lifting-up-spirits-outside-the-church-walls",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some families figure out their groove together by making music, like the Vallejo-based gospel quartet, \u003ca href=\"https://www.facebook.com/TheSonsOfTheSoulReviversOfSanFranciscoCA/\" target=\"_blank\" rel=\"noopener\">The Sons of the Soul Revivers\u003c/a>. The Morgan brothers – Dwayne, James and Walter Jr. have been singing together in church since they were kids. Now, together with their nephew Quantae Johnson, they’re moving beyond church walls to reach a broader audience with their new album, \u003ca href=\"https://store.cdbaby.com/cd/thesongsofthesoulreviver\" target=\"_blank\" rel=\"noopener\">Live at Rancho Nicasio\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "audio",
"attributes": {
"named": {
"src": "https://www.kqed.org/.stream/anon/radio/tcrmag/2017/11/SonsoftheSoulRevivers.mp3",
"image": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/sonsedit-960x427.jpg",
"title": "The Sons of the Soul Revivers: Lifting Up Spirits, Outside the Church Walls",
"program": "The California Report",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The following is an excerpt from a conversation with Sasha Khokha, host of the California Report Magazine. They joined her in studio to talk religion, family, and what has kept their music full of life after more than 40 years. They also played a little in-studio concert!\u003c/p>\n\u003cp>\u003cem>On their name:\u003c/em>\u003c/p>\n\u003cp>Walter Morgan, Jr.: “Our fathers were the Soul Revivers, and the year was 1970. I was around the age of eight, and a cousin of mine, we decided we wanted to form a group and we couldn’t think of a name. So we said well temporarily we’ll call ourselves The Sons of the Soul Revivers and the name just stuck.”\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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11632781\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28112_sons4-qut.jpg\" alt=\"\" width=\"464\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28112_sons4-qut.jpg 464w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28112_sons4-qut-160x182.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28112_sons4-qut-240x273.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28112_sons4-qut-375x427.jpg 375w\" sizes=\"(max-width: 464px) 100vw, 464px\">\u003c/p>\n\u003cp>\u003cem>On performing with family members:\u003c/em>\u003c/p>\n\u003cp>James Morgan: “It’s a joy to be able to get up there and sing with my brothers and nephew. The feeling I get when I hit the stage is just hard to describe. I mean it’s just one of the greatest feelings I ever felt. And it’s a blessing; it’s a privilege for me to be a part of this group.”\u003c/p>\n\u003cp>Quantae Johnson: “Man, it’s a dream come true. I was watching these guys since I was a little guy, and so to be able to be on the same level as them, it feels great.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-11632780 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28113_sons2-qut.jpg\" alt=\"\" width=\"480\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28113_sons2-qut.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28113_sons2-qut-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28113_sons2-qut-240x201.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28113_sons2-qut-375x313.jpg 375w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/p>\n\u003cp>\u003cem>On what inspires them:\u003c/em>\u003c/p>\n\u003cp>Dwayne Morgan: “[Our] belief in Jesus Christ, our Savior. It’s a way for us to express the gospel through song. We just love to sing. And it’s a joy to watch the audience. Sometimes people are down and out, and sometimes a song can be very uplifting. So that’s what we’re all about. We like to spread joy through our music, and we love what we do.”\u003c/p>\n\u003cp>Walter Morgan: “Sometimes the words, through the song, can settle the mind. Whatever you’re going through, it gives you hope. It’s been tough on a lot of folks this year. And when people get so depressed, they don’t where to turn to, you need something to fall back on, a kind word, a beautiful song. Anything that can help lift a burden.”\u003c/p>\n\u003cfigure id=\"attachment_11632743\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11632743\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-800x533.jpg\" alt=\"Dwayne, Walter Jr, and James Morgan -- the Sons of the Soul Revivers -- have been singing together for 47 years.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/RS28111_Son-of-The-Soul-Revivers3500-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne, Walter Jr, and James Morgan — the Sons of the Soul Revivers — have been singing together for 47 years. \u003ccite>(Courtesy of The Sons of the Soul Revivers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>On reaching a broader audience outside of church, through their new album produced by the \u003ca href=\"http://littlevillagefoundation.com/\" target=\"_blank\" rel=\"noopener\">Little Village Foundation:\u003c/a>\u003c/em>\u003c/p>\n\u003cp>James Morgan: “It’s a thrill. What’s cool about it for me is we can be ourselves. We don’t have to pretend to be who we’re not. Sometimes I feel like a rock star. People will be surrounding me. We’re all having a good time. After 47 years of being together as a group, the difference between singing for a traditional church and going to these festivals, it’s incredible. We’re having the time of our lives.”\u003c/p>\n\u003cp>Dwayne Morgan: “It’s wonderful to see people smile. You may not believe it, but there a lot of people that are really searching, looking for that something spiritual. And then you get to be able to share Christ with them, and what we believe in. There’s people that might be suicidal and come to you and say, ‘You know what, I wanted to end my life. But when I heard you sing, I had a change of mind.'”\u003c/p>\n\u003cfigure id=\"attachment_11633011\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11633011\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/band1-800x533.jpg\" alt=\"Quantae Johnson and his uncle, Dwayne Morgan, of the Sons of the Soul Revivers, perform in KQED's studios on Nov. 21, 2017.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Quantae Johnson and his uncle, Dwayne Morgan, of the Sons of the Soul Revivers, perform in KQED’s studios on Nov. 21, 2017. \u003ccite>(Sarah Craig/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>On having a day job:\u003c/em>\u003c/p>\n\u003cp>Dwayne Morgan: “I’m a school bus driver, but I’m ready to go on the road . And when people hear me sing at the yards, they ask me ‘What are you doing here? Why are you here? Your calling is out there. You know you always talk about faith. You need to have faith and move on and go on the road.'”\u003c/p>\n\u003cp>James Morgan: “I used to deliver uniforms until I slipped and fell on the job. Unfortunately for me, I’m on disability. It is what it is. I’m learning to deal with the pain I’m in. But it has not replaced who I am. It has not replaced my joy.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Quantae Johnson: “I’m a touring musician. I do this for a living. Music is what I do. I breathe it. I’ve been a drummer for Fantastic Negrito, out of Oakland. It’s the same thing, people in the audience are going crazy. But to know what you’re singing about, I can appreciate that more. I like singing with my family.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11632699/the-sons-of-the-soul-revivers-lifting-up-spirits-outside-the-church-walls",
"authors": [
"254"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_18143",
"news_1425",
"news_17286",
"news_273"
],
"featImg": "news_11633014",
"label": "news_72"
}
},
"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/news?tag=music": {
"isFetching": false,
"latestQuery": {
"from": 144,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 259,
"relation": "eq"
},
"items": [
"news_11684469",
"news_11693821",
"news_11687342",
"news_11669512",
"news_11667569",
"news_11662453",
"news_11643794",
"news_11644364",
"news_11642039",
"news_11641425",
"news_11636121",
"news_11632699"
],
"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"
},
"news_tag_music": {
"isLoading": true
},
"news_1425": {
"type": "terms",
"id": "news_1425",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "1425",
"found": true
},
"relationships": {},
"featImg": null,
"name": "music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music Archives | KQED News",
"ogDescription": null
},
"ttid": 1437,
"slug": "music",
"isLoading": false,
"link": "/news/tag/music"
},
"source_news_11662453": {
"type": "terms",
"id": "source_news_11662453",
"meta": {
"override": true
},
"name": "Associated Press",
"isLoading": false
},
"source_news_11642039": {
"type": "terms",
"id": "source_news_11642039",
"meta": {
"override": true
},
"name": "NPR",
"link": "www.npr.org",
"isLoading": false
},
"news_72": {
"type": "terms",
"id": "news_72",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "72",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/TCR-2-Logo-Web-Banners-03.png",
"name": "The California Report",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The California Report Archives | KQED News",
"ogDescription": null
},
"ttid": 6969,
"slug": "the-california-report",
"isLoading": false,
"link": "/news/program/the-california-report"
},
"news_223": {
"type": "terms",
"id": "news_223",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "223",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED News",
"ogDescription": null
},
"ttid": 231,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/news/category/arts-and-culture"
},
"news_8": {
"type": "terms",
"id": "news_8",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "8",
"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 News",
"ogDescription": null
},
"ttid": 8,
"slug": "news",
"isLoading": false,
"link": "/news/category/news"
},
"news_3771": {
"type": "terms",
"id": "news_3771",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "3771",
"found": true
},
"relationships": {},
"featImg": null,
"name": "jazz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "jazz Archives | KQED News",
"ogDescription": null
},
"ttid": 3789,
"slug": "jazz",
"isLoading": false,
"link": "/news/tag/jazz"
},
"news_17041": {
"type": "terms",
"id": "news_17041",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17041",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-california-report-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-california-report-featured Archives | KQED News",
"ogDescription": null
},
"ttid": 17067,
"slug": "the-california-report-featured",
"isLoading": false,
"link": "/news/tag/the-california-report-featured"
},
"news_22973": {
"type": "terms",
"id": "news_22973",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "22973",
"found": true
},
"relationships": {},
"featImg": null,
"name": "culture",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "culture Archives | KQED News",
"ogDescription": null
},
"ttid": 22990,
"slug": "culture",
"isLoading": false,
"link": "/news/tag/culture"
},
"news_20415": {
"type": "terms",
"id": "news_20415",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "20415",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dreamers",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "dreamers Archives | KQED News",
"ogDescription": null
},
"ttid": 20432,
"slug": "dreamers",
"isLoading": false,
"link": "/news/tag/dreamers"
},
"news_5056": {
"type": "terms",
"id": "news_5056",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "5056",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Filipino Americans",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Filipino Americans Archives | KQED News",
"ogDescription": null
},
"ttid": 5077,
"slug": "filipino-americans",
"isLoading": false,
"link": "/news/tag/filipino-americans"
},
"news_20942": {
"type": "terms",
"id": "news_20942",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "20942",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mother's Day",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mother's Day Archives | KQED News",
"ogDescription": null
},
"ttid": 20959,
"slug": "mothers-day",
"isLoading": false,
"link": "/news/tag/mothers-day"
},
"news_19133": {
"type": "terms",
"id": "news_19133",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "19133",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED News",
"ogDescription": null
},
"ttid": 19150,
"slug": "arts",
"isLoading": false,
"link": "/news/tag/arts"
},
"news_23000": {
"type": "terms",
"id": "news_23000",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "23000",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Coachella",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Coachella Archives | KQED News",
"ogDescription": null
},
"ttid": 23017,
"slug": "coachella",
"isLoading": false,
"link": "/news/tag/coachella"
},
"news_20000": {
"type": "terms",
"id": "news_20000",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "20000",
"found": true
},
"relationships": {},
"featImg": null,
"name": "coachella valley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "coachella valley Archives | KQED News",
"ogDescription": null
},
"ttid": 20017,
"slug": "coachella-valley",
"isLoading": false,
"link": "/news/tag/coachella-valley"
},
"news_17286": {
"type": "terms",
"id": "news_17286",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17286",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tcr",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tcr Archives | KQED News",
"ogDescription": null
},
"ttid": 17318,
"slug": "tcr",
"isLoading": false,
"link": "/news/tag/tcr"
},
"news_2320": {
"type": "terms",
"id": "news_2320",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "2320",
"found": true
},
"relationships": {},
"name": "Noise Pop",
"slug": "noise-pop",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Noise Pop | KQED News",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null,
"metaRobotsNoIndex": "noindex"
},
"ttid": 2335,
"isLoading": false,
"link": "/news/tag/noise-pop"
},
"news_2299": {
"type": "terms",
"id": "news_2299",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "2299",
"found": true
},
"relationships": {},
"name": "Grammys",
"slug": "grammys",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Grammys | KQED News",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null,
"metaRobotsNoIndex": "noindex"
},
"ttid": 2314,
"isLoading": false,
"link": "/news/tag/grammys"
},
"news_6944": {
"type": "terms",
"id": "news_6944",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "6944",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/News-Fix-Logo-Web-Banners-04.png",
"name": "News Fix",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "The News Fix is a daily news podcast from KQED that breaks down the latest headlines and provides in-depth analysis of the stories that matter to the Bay Area.",
"title": "News Fix - Daily Dose of Bay Area News | KQED",
"ogDescription": null
},
"ttid": 6968,
"slug": "news-fix",
"isLoading": false,
"link": "/news/program/news-fix"
},
"news_2808": {
"type": "terms",
"id": "news_2808",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "2808",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Olympics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Olympics Archives | KQED News",
"ogDescription": null
},
"ttid": 2826,
"slug": "olympics",
"isLoading": false,
"link": "/news/tag/olympics"
},
"news_34078": {
"type": "terms",
"id": "news_34078",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "34078",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sports",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sports Archives | KQED News",
"ogDescription": null
},
"ttid": 34095,
"slug": "sports",
"isLoading": false,
"link": "/news/tag/sports"
},
"news_457": {
"type": "terms",
"id": "news_457",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "457",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Health",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Health Archives | KQED News",
"ogDescription": null
},
"ttid": 16998,
"slug": "health",
"isLoading": false,
"link": "/news/category/health"
},
"news_19129": {
"type": "terms",
"id": "news_19129",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "19129",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Black Panthers",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Black Panthers Archives | KQED News",
"ogDescription": null
},
"ttid": 19146,
"slug": "black-panthers",
"isLoading": false,
"link": "/news/tag/black-panthers"
},
"news_20013": {
"type": "terms",
"id": "news_20013",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "20013",
"found": true
},
"relationships": {},
"featImg": null,
"name": "education",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "education Archives | KQED News",
"ogDescription": null
},
"ttid": 20030,
"slug": "education",
"isLoading": false,
"link": "/news/tag/education"
},
"news_18543": {
"type": "terms",
"id": "news_18543",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "18543",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Health",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Health Archives | KQED News",
"ogDescription": null
},
"ttid": 466,
"slug": "health",
"isLoading": false,
"link": "/news/tag/health"
},
"news_18477": {
"type": "terms",
"id": "news_18477",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "18477",
"found": true
},
"relationships": {},
"featImg": null,
"name": "hip-hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "hip-hop Archives | KQED News",
"ogDescription": null
},
"ttid": 18511,
"slug": "hip-hop",
"isLoading": false,
"link": "/news/tag/hip-hop"
},
"news_4524": {
"type": "terms",
"id": "news_4524",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "4524",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Lyft",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Lyft Archives | KQED News",
"ogDescription": null
},
"ttid": 4543,
"slug": "lyft",
"isLoading": false,
"link": "/news/tag/lyft"
},
"news_18540": {
"type": "terms",
"id": "news_18540",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "18540",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Education",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Education Archives | KQED News",
"ogDescription": null
},
"ttid": 2595,
"slug": "education",
"isLoading": false,
"link": "/news/category/education"
},
"news_129": {
"type": "terms",
"id": "news_129",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "129",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED News",
"ogDescription": null
},
"ttid": 133,
"slug": "berkeley",
"isLoading": false,
"link": "/news/tag/berkeley"
},
"news_316": {
"type": "terms",
"id": "news_316",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "316",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Cal",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Cal Archives | KQED News",
"ogDescription": null
},
"ttid": 324,
"slug": "cal",
"isLoading": false,
"link": "/news/tag/cal"
},
"news_18143": {
"type": "terms",
"id": "news_18143",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "18143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "family",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "family Archives | KQED News",
"ogDescription": null
},
"ttid": 18177,
"slug": "family",
"isLoading": false,
"link": "/news/tag/family"
},
"news_273": {
"type": "terms",
"id": "news_273",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "273",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Vallejo",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Vallejo Archives | KQED News",
"ogDescription": null
},
"ttid": 281,
"slug": "vallejo",
"isLoading": false,
"link": "/news/tag/vallejo"
}
},
"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
}
}
