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_11977259": {
"type": "attachments",
"id": "news_11977259",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11977259",
"found": true
},
"parent": 11977219,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-1677378939-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-1677378939-160x118.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 118
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-1677378939-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-1677378939.jpg",
"width": 1024,
"height": 756
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-1677378939-1020x753.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 753
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-1677378939-800x591.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 591
}
},
"publishDate": 1709064645,
"modified": 1709071312,
"caption": "Nicki Minaj performs onstage during the 2023 MTV Video Music Awards at Prudential Center on Sept. 12, 2023, in Newark, New Jersey.",
"description": null,
"title": "2023 MTV Video Music Awards - Show",
"credit": "Mike Coppola/Getty Images for MTV",
"status": "inherit",
"altTag": "A female singer in a red body suit and sunglasses extends the mic to the crowd while glancing to the side, surrounded by an audience in mid-performance.",
"isLoading": false,
"fetchFailed": false
},
"news_11976721": {
"type": "attachments",
"id": "news_11976721",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11976721",
"found": true
},
"parent": 11976698,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-1736271104-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-1736271104-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-1736271104-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-1736271104.jpg",
"width": 1024,
"height": 683
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-1736271104-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-1736271104-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
}
},
"publishDate": 1708626702,
"modified": 1708637996,
"caption": "Madonna performs during the opening night of The Celebration Tour at The O2 Arena on Oct. 14, 2023, in London, England. ",
"description": null,
"title": "madonna-chase-center-san-francisco",
"credit": "Kevin Mazur/ WireImage for Live Nation",
"status": "inherit",
"altTag": "A white woman dressed in an elaborate black gown and wearing a halo crown holds a microphone on stage.",
"isLoading": false,
"fetchFailed": false
},
"news_11975386": {
"type": "attachments",
"id": "news_11975386",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11975386",
"found": true
},
"parent": 11975375,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Adventure-Playground-Collage-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Adventure-Playground-Collage-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Adventure-Playground-Collage.jpg",
"width": 960,
"height": 540
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Adventure-Playground-Collage-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
}
},
"publishDate": 1707616497,
"modified": 1707616628,
"caption": "Adventure Playground",
"description": null,
"title": "Adventure Playground Collage",
"credit": "Photo courtesy of Adventure Playground/Collage by Annelise Finney/KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"news_11974849": {
"type": "attachments",
"id": "news_11974849",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11974849",
"found": true
},
"parent": 11974827,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-498439801-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-498439801-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-498439801-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-498439801.jpg",
"width": 1024,
"height": 683
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-498439801-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/GettyImages-498439801-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
}
},
"publishDate": 1707248747,
"modified": 1707264530,
"caption": "Located on West Avenue in Lancaster, the musical road is one of only three such attractions in the world; the other two being in Japan and Korea. Driven at 50 mph, you hear part of \"William Tell Overture.\" ",
"description": null,
"title": "Roadside Attractions",
"credit": "Lynne Gilbert via Moment Mobile/Getty Images",
"status": "inherit",
"altTag": "A stretch of road with trees lined up on one side and a sign that reads \"Musical Road Presented by city of Lancaster.\"",
"isLoading": false,
"fetchFailed": false
},
"news_11974140": {
"type": "attachments",
"id": "news_11974140",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11974140",
"found": true
},
"parent": 11974003,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/Sunday-Music-Drop-Photo-Collages-19-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/Sunday-Music-Drop-Photo-Collages-19-160x128.png",
"width": 160,
"mimeType": "image/png",
"height": 128
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/Sunday-Music-Drop-Photo-Collages-19-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/Sunday-Music-Drop-Photo-Collages-19.png",
"width": 1500,
"height": 1200
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/Sunday-Music-Drop-Photo-Collages-19-1020x816.png",
"width": 1020,
"mimeType": "image/png",
"height": 816
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/Sunday-Music-Drop-Photo-Collages-19-800x640.png",
"width": 800,
"mimeType": "image/png",
"height": 640
}
},
"publishDate": 1706566516,
"modified": 1707086996,
"caption": "The Balkan brass band, Inspector Gadje. From left to right: Danny Cao, Ismail Lumanovski, Shane Cox, Noah Levitt, Morgan Nilsen, Andrew Cohen, Paul Marini, and Jeff Giaquinto.",
"description": null,
"title": "Sunday Music Drop Photo Collages-19",
"credit": "Anastasia Cuba, Sefa Karatekin, initial editing by Marco Preis Coppola and Serina Koester/ collage by Spencer Whitney of KQED",
"status": "inherit",
"altTag": "A collage of four images featuring several people holding instruments on a hill.",
"isLoading": false,
"fetchFailed": false
},
"news_11968925": {
"type": "attachments",
"id": "news_11968925",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11968925",
"found": true
},
"parent": 11968911,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/12/Sunday-Music-Drop-Photo-Collages-15-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/12/Sunday-Music-Drop-Photo-Collages-15-160x128.png",
"width": 160,
"mimeType": "image/png",
"height": 128
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/12/Sunday-Music-Drop-Photo-Collages-15-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/12/Sunday-Music-Drop-Photo-Collages-15.png",
"width": 1500,
"height": 1200
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/12/Sunday-Music-Drop-Photo-Collages-15-1020x816.png",
"width": 1020,
"mimeType": "image/png",
"height": 816
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/12/Sunday-Music-Drop-Photo-Collages-15-800x640.png",
"width": 800,
"mimeType": "image/png",
"height": 640
}
},
"publishDate": 1701642643,
"modified": 1701643082,
"caption": "Fauxes band members (From left to right) Dan Loor, Scarlett Levinson, Nick Bielak and Dan March.",
"description": null,
"title": "Sunday Music Drop Photo Collages-15",
"credit": "Photo courtesy of Fauxes/Collage by Spencer Whitney of KQED",
"status": "inherit",
"altTag": "A collage of five images of four people standing and sitting behind a graffiti backdrop.",
"isLoading": false,
"fetchFailed": false
},
"news_11967955": {
"type": "attachments",
"id": "news_11967955",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11967955",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource01-1038x576.jpeg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource01-160x118.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 118
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource01-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource01.jpeg",
"width": 1284,
"height": 950
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource01-1020x755.jpeg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 755
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource01-800x592.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 592
}
},
"publishDate": 1700520491,
"modified": 1700602034,
"caption": "Guillermo Tejeda and the Neighborhood Orchestra performing at the Venice Beach Jazz Festival.",
"description": null,
"title": "EdSource01",
"credit": "Courtesy of Guillermo Tejeda",
"status": "inherit",
"altTag": "A group of musicians are onstage, posing for the camera.",
"isLoading": false,
"fetchFailed": false
},
"news_11966734": {
"type": "attachments",
"id": "news_11966734",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11966734",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/231101-MusicTherapyHMBFarmworkers-47-BL-KQED-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/231101-MusicTherapyHMBFarmworkers-47-BL-KQED-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/231101-MusicTherapyHMBFarmworkers-47-BL-KQED-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/231101-MusicTherapyHMBFarmworkers-47-BL-KQED.jpg",
"width": 2000,
"height": 1333
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/231101-MusicTherapyHMBFarmworkers-47-BL-KQED-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/231101-MusicTherapyHMBFarmworkers-47-BL-KQED-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/231101-MusicTherapyHMBFarmworkers-47-BL-KQED-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/231101-MusicTherapyHMBFarmworkers-47-BL-KQED-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
}
},
"publishDate": 1699461752,
"modified": 1699465540,
"caption": "(From left) Belinda Arriaga, Yesenia Garcia, Hilario Lopez, and Pedro Romero play accordion during a lesson with Hernan Hernandez at Cabrillo Farms in Half Moon Bay on Nov. 1, 2023.",
"description": null,
"title": "231101-MusicTherapyHMBFarmworkers-47-BL-KQED",
"credit": "Beth LaBerge/KQED",
"status": "inherit",
"altTag": "A group of people smile while sitting together indoors and holding bright red accordions.",
"isLoading": false,
"fetchFailed": false
},
"news_11966780": {
"type": "attachments",
"id": "news_11966780",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11966780",
"found": true
},
"parent": 11966749,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-024-BL-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-024-BL-qut-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-024-BL-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-024-BL-qut.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-024-BL-qut-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-024-BL-qut-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-024-BL-qut-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
}
},
"publishDate": 1699476634,
"modified": 1699485152,
"caption": "Arlene Owseichik, long-time art director at Bill Graham Presents, sits at her home in Berkeley on Sept. 28, 2023. Owseichik designed posters for Bill Graham Presents for 30 years and produced nearly 2000 of the iconic concert posters.",
"description": null,
"title": "230928-ArleneOwseichik-024-BL-qut",
"credit": "Beth LaBerge/KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"news_11966484": {
"type": "attachments",
"id": "news_11966484",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11966484",
"found": true
},
"parent": 11966475,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/Untitled-drawing-1-2-947x576.jpg",
"width": 947,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/Untitled-drawing-1-2-160x117.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 117
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/Untitled-drawing-1-2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/Untitled-drawing-1-2.jpg",
"width": 947,
"height": 692
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/Untitled-drawing-1-2-800x585.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 585
}
},
"publishDate": 1699223011,
"modified": 1699223094,
"caption": null,
"description": null,
"title": "Untitled drawing (1) 2",
"credit": "Courtesy of Hannah Skelton and Chris Niles/Collage by Annelise Finney KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"news_11963879": {
"type": "attachments",
"id": "news_11963879",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11963879",
"found": true
},
"parent": 11963875,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/10/GettyImages-1677356252-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/10/GettyImages-1677356252-qut-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/10/GettyImages-1677356252-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/10/GettyImages-1677356252-qut.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/10/GettyImages-1677356252-qut-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/10/GettyImages-1677356252-qut-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/10/GettyImages-1677356252-qut-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
}
},
"publishDate": 1696880867,
"modified": 1696962241,
"caption": "Peso Pluma performs onstage during the 2023 MTV Video Music Awards at Prudential Center on Sept. 12, 2023 in Newark, New Jersey. ",
"description": null,
"title": "2023 MTV Video Music Awards - Show",
"credit": "Mike Coppola/Getty Images for MTV",
"status": "inherit",
"altTag": "A younger man with blunt brown bangs and mullet wears large dark sunglasses and a broad-shouldered black shirt, singing into a mic onstage",
"isLoading": false,
"fetchFailed": false
},
"news_11963041": {
"type": "attachments",
"id": "news_11963041",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11963041",
"found": true
},
"parent": 11963037,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/10/2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/10/2-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/10/2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/10/2.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/10/2-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/10/2-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2023/10/2-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
}
},
"publishDate": 1696190615,
"modified": 1696190795,
"caption": "Band members Savannah Du and Michael Zhang.",
"description": null,
"title": "2",
"credit": "Photo Courtesy of Vincent Po/Collage by Lakshmi Sarah of KQED",
"status": "inherit",
"altTag": "Collage of two people with blue sky in the background.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_news_11974827": {
"type": "authors",
"id": "byline_news_11974827",
"meta": {
"override": true
},
"slug": "byline_news_11974827",
"name": "Clare Wiley",
"isLoading": false
},
"byline_news_11967943": {
"type": "authors",
"id": "byline_news_11967943",
"meta": {
"override": true
},
"slug": "byline_news_11967943",
"name": "\u003ca href=\"https://edsource.org/author/kdsouza\">Karen D'Souza\u003c/a>\u003cbr> EdSource",
"isLoading": false
},
"ecruzguevarra": {
"type": "authors",
"id": "8654",
"meta": {
"index": "authors_1716337520",
"id": "8654",
"found": true
},
"name": "Ericka Cruz Guevarra",
"firstName": "Ericka",
"lastName": "Cruz Guevarra",
"slug": "ecruzguevarra",
"email": "ecruzguevarra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Producer, The Bay Podcast",
"bio": "Ericka Cruz Guevarra is host of \u003ca href=\"https://www.kqed.org/podcasts/thebay\">\u003cem>The Bay\u003c/em>\u003c/a> podcast at KQED. Before host, she was the show’s producer. Her work in that capacity includes a three-part reported series on policing in Vallejo, which won a 2020 excellence in journalism award from the Society of Professional Journalists. Ericka has worked as a breaking news reporter at Oregon Public Broadcasting, helped produce the Code Switch podcast, and was KQED’s inaugural Raul Ramirez Diversity Fund intern. She’s also an alumna of NPR’s Next Generation Radio program. Send her an email if you have strong feelings about whether Fairfield and Suisun City are the Bay. Ericka is represented by SAG-AFTRA.",
"avatar": "https://secure.gravatar.com/avatar/25e5ab8d3d53fad2dcc7bb2b5c506b1a?s=600&d=blank&r=g",
"twitter": "NotoriousECG",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"editor",
"manage_categories"
]
},
{
"site": "futureofyou",
"roles": [
"subscriber"
]
},
{
"site": "stateofhealth",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Ericka Cruz Guevarra | KQED",
"description": "Producer, The Bay Podcast",
"ogImgSrc": "https://secure.gravatar.com/avatar/25e5ab8d3d53fad2dcc7bb2b5c506b1a?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/25e5ab8d3d53fad2dcc7bb2b5c506b1a?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ecruzguevarra"
},
"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"
},
"cmorizono": {
"type": "authors",
"id": "11503",
"meta": {
"index": "authors_1716337520",
"id": "11503",
"found": true
},
"name": "Chloe Morizono",
"firstName": "Chloe",
"lastName": "Morizono",
"slug": "cmorizono",
"email": "cmorizono@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/589de970d4696c868de7f4dc180e0289?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": []
},
{
"site": "perspectives",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Chloe Morizono | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/589de970d4696c868de7f4dc180e0289?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/589de970d4696c868de7f4dc180e0289?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmorizono"
},
"amontecillo": {
"type": "authors",
"id": "11649",
"meta": {
"index": "authors_1716337520",
"id": "11649",
"found": true
},
"name": "Alan Montecillo",
"firstName": "Alan",
"lastName": "Montecillo",
"slug": "amontecillo",
"email": "amontecillo@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"news"
],
"title": "KQED Contributor",
"bio": "Alan Montecillo is the senior editor of \u003cem>\u003ca href=\"http://kqed.org/thebay\">The Bay\u003c/a>, \u003c/em> KQED's local news podcast. Before moving to the Bay Area, he worked as a senior talk show producer for WILL in Champaign-Urbana, Illinois and at Oregon Public Broadcasting in Portland, Oregon. He has won journalism awards from the Society of Professional Journalists Northern California, the Public Media Journalists Association, The Signal Awards, and has also received a regional Edward R. Murrow award. Alan is a Filipino American from Hong Kong and a graduate of Reed College.",
"avatar": "https://secure.gravatar.com/avatar/d5e4e7a76481969ccba76f4e2b5ccabc?s=600&d=blank&r=g",
"twitter": "alanmontecillo",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor",
"manage_categories"
]
}
],
"headData": {
"title": "Alan Montecillo | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d5e4e7a76481969ccba76f4e2b5ccabc?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d5e4e7a76481969ccba76f4e2b5ccabc?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/amontecillo"
},
"btorres": {
"type": "authors",
"id": "11666",
"meta": {
"index": "authors_1716337520",
"id": "11666",
"found": true
},
"name": "Blanca Torres",
"firstName": "Blanca",
"lastName": "Torres",
"slug": "btorres",
"email": "btorres@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Producer, Forum",
"bio": "Blanca Torres brings sharp news judgement and keen sense of lively conversation to her work as producer for Forum. She loves producing shows that leave listeners feeling like they heard distinctive voices, learned something new and gained a fresh perspective.\r\n\r\nShe joined KQED in January of 2020 after 16 years of working as a newspaper reporter most recently at the \u003cem>San Francisco Business Times,\u003c/em> where she wrote about real estate and economic development. Before that, she covered a variety of beats including crime, education, retail, workplace, the economy, consumer issues, and small business for the \u003cem>Contra Costa Times, Baltimore Sun\u003c/em> and\u003cem> The Seattle Times\u003c/em>. In addition to reporting, she worked as an editorial writer and columnist for the \u003cem>Seattle Times\u003c/em>. From 2017 to 2020, Blanca won a total of ten awards from the National Association of Real Estate Editors and won first place for land use reporting from the California News Publishers Association two years in a row. She is also a member and former board member for the National Association of Hispanic Journalists.\r\n\r\nA native of the Pacific Northwest, Blanca earned her bachelor's degree from Vanderbilt University in Nashville and a master's in fine arts in creative writing at Mills College. She lives in the East Bay with her family.",
"avatar": "https://secure.gravatar.com/avatar/f2322ff46076d337f7ba731ee6068cb1?s=600&d=blank&r=g",
"twitter": "@blancawrites",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Blanca Torres | KQED",
"description": "Producer, Forum",
"ogImgSrc": "https://secure.gravatar.com/avatar/f2322ff46076d337f7ba731ee6068cb1?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/f2322ff46076d337f7ba731ee6068cb1?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/btorres"
},
"ccabreralomeli": {
"type": "authors",
"id": "11708",
"meta": {
"index": "authors_1716337520",
"id": "11708",
"found": true
},
"name": "Carlos Cabrera-Lomelí",
"firstName": "Carlos",
"lastName": "Cabrera-Lomelí",
"slug": "ccabreralomeli",
"email": "ccabreralomeli@KQED.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Community Reporter",
"bio": "Carlos Cabrera-Lomelí is a community reporter with KQED's digital engagement team. He also reports and co-produces for KQED's bilingual news hub KQED en Español. He grew up in San Francisco's Mission District and has previously worked with Univision, 48 Hills and REFORMA in Mexico City.",
"avatar": "https://secure.gravatar.com/avatar/e95ff80bb2eaf18a8f2af4dcf7ffb54b?s=600&d=mm&r=g",
"twitter": "@LomeliCabrera",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "about",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "perspectives",
"roles": [
"editor"
]
},
{
"site": "elections",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Carlos Cabrera-Lomelí | KQED",
"description": "Community Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/e95ff80bb2eaf18a8f2af4dcf7ffb54b?s=600&d=mm&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/e95ff80bb2eaf18a8f2af4dcf7ffb54b?s=600&d=mm&r=g"
},
"isLoading": false,
"link": "/author/ccabreralomeli"
},
"afinney": {
"type": "authors",
"id": "11772",
"meta": {
"index": "authors_1716337520",
"id": "11772",
"found": true
},
"name": "Annelise Finney",
"firstName": "Annelise",
"lastName": "Finney",
"slug": "afinney",
"email": "afinney@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Reporter",
"bio": "Annelise reports on reparations in California and East Bay politics. She co-produced the Sunday Music Drop, a limited-term radio series featuring Bay Area musicians that aired between Sept 2022 and Oct 2024. She joined KQED in 2021 as a general assignment reporter and is an alumna of KALW's Audio Academy. She was born and raised in the East Bay. She is currently away from KQED completing a year-long reporting project in Berlin, Germany as a Alexander Von Humboldt German Chancellor Fellow.",
"avatar": "https://secure.gravatar.com/avatar/5fded66cae47704cdfc5021cde0f3aa4?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"author"
]
}
],
"headData": {
"title": "Annelise Finney | KQED",
"description": "Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5fded66cae47704cdfc5021cde0f3aa4?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5fded66cae47704cdfc5021cde0f3aa4?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/afinney"
},
"mesquinca": {
"type": "authors",
"id": "11802",
"meta": {
"index": "authors_1716337520",
"id": "11802",
"found": true
},
"name": "Maria Esquinca",
"firstName": "Maria",
"lastName": "Esquinca",
"slug": "mesquinca",
"email": "mesquinca@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "Producer, The Bay",
"bio": "María Esquinca is a producer of The Bay. Before that, she was a New York Women’s Foundation IGNITE Fellow at Latino USA. She worked at Radio Bilingue where she covered the San Joaquin Valley. Maria has interned at WLRN, News 21, The New York Times Student Journalism Institute and at Crain’s Detroit Business as a Dow Jones News Fund Business Reporting Intern. She is an MFA graduate from the University of Miami. In 2017, she graduated from the Walter Cronkite School of Journalism and Mass Communication with a Master of Mass Communication. A fronteriza, she was born in Ciudad Juárez, Chihuahua, Mexico and grew up in El Paso, Texas.",
"avatar": "https://secure.gravatar.com/avatar/77cedba18aae91da775038ba06dcd8d0?s=600&d=blank&r=g",
"twitter": "@m_esquinca",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": []
}
],
"headData": {
"title": "Maria Esquinca | KQED",
"description": "Producer, The Bay",
"ogImgSrc": "https://secure.gravatar.com/avatar/77cedba18aae91da775038ba06dcd8d0?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/77cedba18aae91da775038ba06dcd8d0?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mesquinca"
},
"apelit": {
"type": "authors",
"id": "11812",
"meta": {
"index": "authors_1716337520",
"id": "11812",
"found": true
},
"name": "Attila Pelit",
"firstName": "Attila",
"lastName": "Pelit",
"slug": "apelit",
"email": "apelit@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/9b7b8a9e595d58a1f4d853f8608ae584?s=600&d=mm&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "elections",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Attila Pelit | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/9b7b8a9e595d58a1f4d853f8608ae584?s=600&d=mm&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/9b7b8a9e595d58a1f4d853f8608ae584?s=600&d=mm&r=g"
},
"isLoading": false,
"link": "/author/apelit"
},
"nkhan": {
"type": "authors",
"id": "11867",
"meta": {
"index": "authors_1716337520",
"id": "11867",
"found": true
},
"name": "Nisa Khan",
"firstName": "Nisa",
"lastName": "Khan",
"slug": "nkhan",
"email": "nkhan@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Nisa Khan is a reporter for KQED's Audience News Desk. She was formerly a data reporter at Michigan Radio. She earned a Bachelor of Science in Information from the University of Michigan and a Master of Arts in Communication from Stanford University.",
"avatar": "https://secure.gravatar.com/avatar/a3bf1efcfbe7658d13a434cc54d0b2e3?s=600&d=blank&r=g",
"twitter": "mnisakhan",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor",
"author"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Nisa Khan | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/a3bf1efcfbe7658d13a434cc54d0b2e3?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/a3bf1efcfbe7658d13a434cc54d0b2e3?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nkhan"
},
"udursun": {
"type": "authors",
"id": "11883",
"meta": {
"index": "authors_1716337520",
"id": "11883",
"found": true
},
"name": "Ugur Dursun",
"firstName": "Ugur",
"lastName": "Dursun",
"slug": "udursun",
"email": "udursun@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Engagement Producer, KQED Arts & Culture",
"bio": "Ugur Dursun is a reporter and audience engagement producer for KQED Arts. Previously, her reporting has appeared on SFGate, East Bay Times, The Mercury News, KTVU, NBC Bay Area, The Stanford Daily, and other Bay Area local news outlets. In 2023, she was a recipient of Online News Association's \u003ca href=\"https://journalists.org/programs/mj-bear-fellowship/\">MJ Bear Fellowship\u003c/a>, which honors six standout journalists under the age of 30 who are pushing innovation in digital news.",
"avatar": "https://secure.gravatar.com/avatar/5275bbdc74da8a8845f2b9f9f7d94a5f?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": "Ugur Dursun | KQED",
"description": "Engagement Producer, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5275bbdc74da8a8845f2b9f9f7d94a5f?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5275bbdc74da8a8845f2b9f9f7d94a5f?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/udursun"
}
},
"pagesReducer": {
"news_tag_music": {
"type": "terms",
"id": "news_1425",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "1425",
"score": 6.845629
},
"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": 7
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/news?tag=music",
"seeMore": false,
"paginated": true,
"page": 7
}
},
{
"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_11977219": {
"type": "posts",
"id": "news_11977219",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11977219",
"score": null,
"sort": [
1709121642000
]
},
"parent": 0,
"labelTerm": {
"site": "news"
},
"blocks": [],
"publishDate": 1709121642,
"format": "standard",
"title": "Seeing Nicki Minaj at Oakland Arena? Everything to Know, From Parking to Bag Policies",
"headTitle": "Seeing Nicki Minaj at Oakland Arena? Everything to Know, From Parking to Bag Policies | KQED",
"content": "\u003cp>The \u003ca href=\"https://www.rollingstone.com/music/music-news/meet-the-barbz-the-nicki-minaj-fandom-fighting-the-nicki-hate-train-705438/\">Barbz\u003c/a> will be convening in Oakland Arena on Friday night, where \u003ca href=\"https://www.sfgate.com/local/article/nicki-minaj-tour-oakland-area-18550260.php\">Nicki Minaj will be launching her first solo tour in eight years\u003c/a>: \u003ca href=\"https://www.theoaklandarena.com/events/detail/nicki-minaj\">Pink Friday 2 World Tour\u003c/a>.\u003c/p>\n\u003cp>As you prepare for the night when \u003ca href=\"https://www.youtube.com/watch?v=fTLmjgntQsE\">Oakland will become “Gag City”\u003c/a> on March 1, you may be looking for a game plan for parking at the venue or just getting in and out of the crowded, hectic stadium as painlessly as possible. Keep reading for our at-a-glance information on parking options, bag policy, public transit and more.\u003c/p>\n\u003cp>(And if you’re \u003cem>not \u003c/em>attending the Nicki Minaj show on Friday but you live, work or commute in the region? This guide might not be for you, but you should be prepared for I-880 around surrounding routes to potentially be busy on Friday night before or after the show.)\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#oaklandarenabagpolicy\">What’s the Oakland Arena bag policy?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#oaklandarenaparking\">What should I know about parking at and near Oakland Arena?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#coliseumpublictransit\">How can I take public transit to the Nicki Minaj concert?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>What time is the Nicki Minaj show at Oakland Arena?\u003c/h2>\n\u003cp>The show will start at 8 p.m. on Friday, March 1.\u003c/p>\n\u003cp>\u003ca href=\"https://www.theoaklandarena.com/events/detail/nicki-minaj\">The doors at Oakland Area will open at 7 p.m.\u003c/a>\u003c/p>\n\u003ch2>What will the weather be like on Friday night in Oakland?\u003c/h2>\n\u003cp>The \u003ca href=\"https://forecast.weather.gov/MapClick.php?lat=37.8051&lon=-122.2731\">National Weather Service predicts it will be raining Friday night with “possibly a thunderstorm before 10 p.m.\u003c/a>” Even though the Oakland Arena is an indoor venue, it is best for you to plan ahead for transportation (and bring an umbrella or a hooded coat for your entry and exit).\u003c/p>\n\u003ch2>\u003ca id=\"oaklandarenabagpolicy\">\u003c/a>What’s the Oakland Arena bag policy?\u003c/h2>\n\u003cp>Bag check is not available at Oakland Arena, so you should plan ahead accordingly. Some things you \u003ca href=\"https://www.theoaklandarena.com/prohibited-items\">cannot bring\u003c/a> to the Nicki Minaj show on Friday include:\u003c/p>\n\u003cul>\n\u003cli>Coolers\u003c/li>\n\u003cli>Any type of backpacks\u003c/li>\n\u003cli>Bags larger than 14″ x 14″ x 6″\u003c/li>\n\u003cli>Cigarettes\u003c/li>\n\u003cli>Weapons or sharp objects\u003c/li>\n\u003cli>Bats and clubs\u003c/li>\n\u003cli>Outside food or beverage (as well as hard side containers like a thermos)\u003c/li>\n\u003cli>Selfie sticks and tripods\u003c/li>\n\u003cli>Strollers and portable chairs\u003c/li>\n\u003cli>Seat cushions\u003c/li>\n\u003cli>Large banners or flags\u003c/li>\n\u003c/ul>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977242 aligncenter\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Oakland-Arena-Prohibited-Items-deea1b7735.png\" alt=\"\" width=\"436\" height=\"779\">\u003c/p>\n\u003cp>Empty soft plastic bottles are allowed, as well as binoculars and still cameras with lenses shorter than 3 inches.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/11959799/how-to-avoid-a-car-break-in-bay-area\">Be careful if you’re choosing to stash anything in your vehicle\u003c/a> during the show, as break-ins are unfortunately common around the Bay Area. Don’t leave anything on display in your car, especially electronics like laptops — even if you think they’re hidden from view.\u003c/p>\n\u003ch2>What should I know about accessibility at Oakland Arena?\u003c/h2>\n\u003cp>Oakland Arena has a guide on its accessibility services, which can be \u003ca href=\"https://www.theoaklandarena.com/accessibility\">viewed on its website\u003c/a>. Accessibility highlights include:\u003c/p>\n\u003cul>\n\u003cli>Assisted Listening Devices are available in the First Aid Section 106. The First Aid section also includes \u003ca href=\"https://www.theoaklandarena.com/oakland-a-z\">“(s)ensory bags, equipped with noise canceling headphones, fidget tools, verbal cue cards and weighted lap pads.”\u003c/a>\u003c/li>\n\u003cli>Elevators are available at the west side, near Section 114 and the east side, near Section 101.\u003c/li>\n\u003cli>You can call 510-383-5743 or email customerservice@coliseum.com for information or requests.\u003c/li>\n\u003c/ul>\n\u003ch2>\u003ca id=\"oaklandarenaparking\">\u003c/a>What should I know about parking at and near Oakland Arena?\u003c/h2>\n\u003cp>\u003ca href=\"https://www.ticketmaster.com/prepaid-parking-pass-only-nicki-minaj-oakland-california-03-01-2024/event/1C005F87CAC03309\">Official parking spots at Oakland Arena for the Nicki Minaj show are still available on Ticketmaster\u003c/a>, with general parking tickets for $40 and VIP parking for $80.\u003c/p>\n\u003cp>You can check \u003ca href=\"https://spothero.com/search?kind=event&id=848262&view=dl\">websites like SpotHero\u003c/a> for non-stadium parking spots nearby. If you’re doing this, be sure to map the route using a tool like Google Maps, to make sure you know how long you have to walk and the shortest route to do so — and wear comfy footwear.\u003c/p>\n\u003ch2>\u003ca id=\"coliseumpublictransit\">\u003c/a>How to take public transportation to the Nicki Minaj concert\u003c/h2>\n\u003cp>Public transit schedules can always be subject to change. Check the timings for your route on the day of the show itself, and be sure of your very last service home.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://www.theoaklandarena.com/assets/img/Email-Maps-4-bd72220145.png\">\u003c/p>\n\u003cp>The Oakland Arena is located near \u003ca href=\"https://www.bart.gov/\">BART\u003c/a>, the \u003ca href=\"https://www.amtrak.com/stations/okj\">Capitol Corridor Amtrak train\u003c/a>, and \u003ca href=\"http://www.actransit.org/\">AC Transit\u003c/a>. If you are taking the BART or Amtrak, you \u003ca href=\"https://www.theoaklandarena.com/public-transportation\">would need to get off the Coliseum Station and cross the ramp to the Arena\u003c/a>.\u003c/p>\n\u003cp>If you are going to take an Uber or Lyft to or from the event, you will need to be picked up at Baldwin Gate. Baldwin Gate \u003ca href=\"https://www.theoaklandarena.com/oakland-a-z\">opens two hours before the event starts\u003c/a>. Be aware that there will likely be a surge charge around this time due to the crowds.\u003c/p>\n\u003ch2>\u003cstrong>How do I know if I’ve got a good seat at the Nicki Minaj show?\u003c/strong>\u003c/h2>\n\u003cp>If you are anxious about anything obscuring your sight of the stage or how you want to get to your seat fast, you can check it out on Oakland \u003ca href=\"https://www.theoaklandarena.com/seating-charts\">Arena’s website\u003c/a> or \u003ca href=\"https://aviewfrommyseat.com/venue/Oakland+Arena/\">A View From My Seat\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>\u003cstrong>Prepare for a super-crowded stadium experience\u003c/strong>\u003c/h2>\n\u003cp>There’s no shame in getting a little antsy in big crowds like this — in a packed stadium, it’s normal to feel a little overwhelmed. Read \u003ca href=\"https://www.npr.org/2021/11/09/1053828800/south-korea-seoul-halloween-crowd-safety-tips\">NPR’s full guide on what to do if you find yourself caught in a crowd crush.\u003c/a>\u003c/p>\n\u003cp>According to Mehdi Moussaïd, a research scientist in Berlin who studies crowd behavior, \u003ca href=\"https://www.npr.org/2021/11/09/1053828800/south-korea-seoul-halloween-crowd-safety-tips\">rely on your instincts and senses if you feel like the crowd is getting too dense\u003c/a>. If you get stuck in a crush, move with the crowd, put your arms out in front of your chest and hold them there.\u003c/p>\n\u003cp>“In this position, you would have some space, just a little bit, to push for half a centimeter or just 1 centimeter — enough for you to keep breathing,” Moussaïd said to NPR in 2022. “It’s not going to be comfortable. You’re going to be feeling really bad, but at least you’ll survive.”\u003c/p>\n\u003ch2>\u003cstrong>Can I still get a ticket for Nicki Minaj at Oakland Arena?\u003c/strong>\u003c/h2>\n\u003cp>\u003ca href=\"https://www.ticketmaster.com/nicki-minaj-presents-pink-friday-2-oakland-california-03-01-2024/event/1C005F86B2692B5B\">Tickets are still being offered on Ticketmaster\u003c/a>, which is the most official way to secure your seat at the Nicki Minaj show for $88 and up. (If you need accessible tickets, be sure to filter for them on Ticketmaster’s website.) You can also find \u003ca href=\"https://www.stubhub.com/nicki-minaj-oakland-tickets-3-1-2024/event/152728261/\">resales on sites like StubHub\u003c/a> or look for better deals and seats on Facebook marketplace resales and Eventbrite.\u003c/p>\n\u003cp>If you’re buying a resale ticket, a note: \u003ca href=\"https://abc7news.com/taylor-swift-scams-concert-tickets-better-business-bureau/13474055/\">The Better Businesses Bureau issued a warning about resale scams\u003c/a> during Taylor Swift’s Eras Tour, with many people discovering after sending the money through apps like Venmo or Zelle that these “tickets” never existed. Check out the person’s profile and their past posting history to see if it seems real. And \u003ca href=\"https://www.bbb.org/article/scams/28902-bbb-scam-alert-spot-the-scam-before-paying-big-bucks-for-taylor-swift-tickets\">if you do choose to buy a resale, use your credit card,\u003c/a> says the BBB. This at least provides some protection for you if the deal was fake.\u003c/p>\n\u003cp>If you are getting a resale from a friend, \u003ca href=\"https://www.bbb.org/article/scams/28902-bbb-scam-alert-spot-the-scam-before-paying-big-bucks-for-taylor-swift-tickets\">make sure you call your friend directly\u003c/a> — to make sure someone isn’t impersonating them online.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1181,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1709073535,
"excerpt": null,
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Barbz will be convening in Oakland Arena on Friday night, where Nicki Minaj will be launching her first solo tour in eight years: Pink Friday 2 World Tour. As you prepare for the night when Oakland will become “Gag City” on March 1, you may be looking for a game plan for parking at",
"title": "Seeing Nicki Minaj at Oakland Arena? Everything to Know, From Parking to Bag Policies | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Seeing Nicki Minaj at Oakland Arena? Everything to Know, From Parking to Bag Policies",
"datePublished": "2024-02-28T04:00:42-08:00",
"dateModified": "2024-02-27T14:38:55-08:00",
"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": "seeing-nicki-minaj-at-oakland-arena-everything-to-know-from-parking-to-bag-policies",
"status": "publish",
"excludeFromSiteSearch": "Include",
"sticky": false,
"articleAge": "0",
"path": "/news/11977219/seeing-nicki-minaj-at-oakland-arena-everything-to-know-from-parking-to-bag-policies",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.rollingstone.com/music/music-news/meet-the-barbz-the-nicki-minaj-fandom-fighting-the-nicki-hate-train-705438/\">Barbz\u003c/a> will be convening in Oakland Arena on Friday night, where \u003ca href=\"https://www.sfgate.com/local/article/nicki-minaj-tour-oakland-area-18550260.php\">Nicki Minaj will be launching her first solo tour in eight years\u003c/a>: \u003ca href=\"https://www.theoaklandarena.com/events/detail/nicki-minaj\">Pink Friday 2 World Tour\u003c/a>.\u003c/p>\n\u003cp>As you prepare for the night when \u003ca href=\"https://www.youtube.com/watch?v=fTLmjgntQsE\">Oakland will become “Gag City”\u003c/a> on March 1, you may be looking for a game plan for parking at the venue or just getting in and out of the crowded, hectic stadium as painlessly as possible. Keep reading for our at-a-glance information on parking options, bag policy, public transit and more.\u003c/p>\n\u003cp>(And if you’re \u003cem>not \u003c/em>attending the Nicki Minaj show on Friday but you live, work or commute in the region? This guide might not be for you, but you should be prepared for I-880 around surrounding routes to potentially be busy on Friday night before or after the show.)\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#oaklandarenabagpolicy\">What’s the Oakland Arena bag policy?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#oaklandarenaparking\">What should I know about parking at and near Oakland Arena?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#coliseumpublictransit\">How can I take public transit to the Nicki Minaj concert?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>What time is the Nicki Minaj show at Oakland Arena?\u003c/h2>\n\u003cp>The show will start at 8 p.m. on Friday, March 1.\u003c/p>\n\u003cp>\u003ca href=\"https://www.theoaklandarena.com/events/detail/nicki-minaj\">The doors at Oakland Area will open at 7 p.m.\u003c/a>\u003c/p>\n\u003ch2>What will the weather be like on Friday night in Oakland?\u003c/h2>\n\u003cp>The \u003ca href=\"https://forecast.weather.gov/MapClick.php?lat=37.8051&lon=-122.2731\">National Weather Service predicts it will be raining Friday night with “possibly a thunderstorm before 10 p.m.\u003c/a>” Even though the Oakland Arena is an indoor venue, it is best for you to plan ahead for transportation (and bring an umbrella or a hooded coat for your entry and exit).\u003c/p>\n\u003ch2>\u003ca id=\"oaklandarenabagpolicy\">\u003c/a>What’s the Oakland Arena bag policy?\u003c/h2>\n\u003cp>Bag check is not available at Oakland Arena, so you should plan ahead accordingly. Some things you \u003ca href=\"https://www.theoaklandarena.com/prohibited-items\">cannot bring\u003c/a> to the Nicki Minaj show on Friday include:\u003c/p>\n\u003cul>\n\u003cli>Coolers\u003c/li>\n\u003cli>Any type of backpacks\u003c/li>\n\u003cli>Bags larger than 14″ x 14″ x 6″\u003c/li>\n\u003cli>Cigarettes\u003c/li>\n\u003cli>Weapons or sharp objects\u003c/li>\n\u003cli>Bats and clubs\u003c/li>\n\u003cli>Outside food or beverage (as well as hard side containers like a thermos)\u003c/li>\n\u003cli>Selfie sticks and tripods\u003c/li>\n\u003cli>Strollers and portable chairs\u003c/li>\n\u003cli>Seat cushions\u003c/li>\n\u003cli>Large banners or flags\u003c/li>\n\u003c/ul>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977242 aligncenter\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Oakland-Arena-Prohibited-Items-deea1b7735.png\" alt=\"\" width=\"436\" height=\"779\">\u003c/p>\n\u003cp>Empty soft plastic bottles are allowed, as well as binoculars and still cameras with lenses shorter than 3 inches.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/11959799/how-to-avoid-a-car-break-in-bay-area\">Be careful if you’re choosing to stash anything in your vehicle\u003c/a> during the show, as break-ins are unfortunately common around the Bay Area. Don’t leave anything on display in your car, especially electronics like laptops — even if you think they’re hidden from view.\u003c/p>\n\u003ch2>What should I know about accessibility at Oakland Arena?\u003c/h2>\n\u003cp>Oakland Arena has a guide on its accessibility services, which can be \u003ca href=\"https://www.theoaklandarena.com/accessibility\">viewed on its website\u003c/a>. Accessibility highlights include:\u003c/p>\n\u003cul>\n\u003cli>Assisted Listening Devices are available in the First Aid Section 106. The First Aid section also includes \u003ca href=\"https://www.theoaklandarena.com/oakland-a-z\">“(s)ensory bags, equipped with noise canceling headphones, fidget tools, verbal cue cards and weighted lap pads.”\u003c/a>\u003c/li>\n\u003cli>Elevators are available at the west side, near Section 114 and the east side, near Section 101.\u003c/li>\n\u003cli>You can call 510-383-5743 or email customerservice@coliseum.com for information or requests.\u003c/li>\n\u003c/ul>\n\u003ch2>\u003ca id=\"oaklandarenaparking\">\u003c/a>What should I know about parking at and near Oakland Arena?\u003c/h2>\n\u003cp>\u003ca href=\"https://www.ticketmaster.com/prepaid-parking-pass-only-nicki-minaj-oakland-california-03-01-2024/event/1C005F87CAC03309\">Official parking spots at Oakland Arena for the Nicki Minaj show are still available on Ticketmaster\u003c/a>, with general parking tickets for $40 and VIP parking for $80.\u003c/p>\n\u003cp>You can check \u003ca href=\"https://spothero.com/search?kind=event&id=848262&view=dl\">websites like SpotHero\u003c/a> for non-stadium parking spots nearby. If you’re doing this, be sure to map the route using a tool like Google Maps, to make sure you know how long you have to walk and the shortest route to do so — and wear comfy footwear.\u003c/p>\n\u003ch2>\u003ca id=\"coliseumpublictransit\">\u003c/a>How to take public transportation to the Nicki Minaj concert\u003c/h2>\n\u003cp>Public transit schedules can always be subject to change. Check the timings for your route on the day of the show itself, and be sure of your very last service home.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://www.theoaklandarena.com/assets/img/Email-Maps-4-bd72220145.png\">\u003c/p>\n\u003cp>The Oakland Arena is located near \u003ca href=\"https://www.bart.gov/\">BART\u003c/a>, the \u003ca href=\"https://www.amtrak.com/stations/okj\">Capitol Corridor Amtrak train\u003c/a>, and \u003ca href=\"http://www.actransit.org/\">AC Transit\u003c/a>. If you are taking the BART or Amtrak, you \u003ca href=\"https://www.theoaklandarena.com/public-transportation\">would need to get off the Coliseum Station and cross the ramp to the Arena\u003c/a>.\u003c/p>\n\u003cp>If you are going to take an Uber or Lyft to or from the event, you will need to be picked up at Baldwin Gate. Baldwin Gate \u003ca href=\"https://www.theoaklandarena.com/oakland-a-z\">opens two hours before the event starts\u003c/a>. Be aware that there will likely be a surge charge around this time due to the crowds.\u003c/p>\n\u003ch2>\u003cstrong>How do I know if I’ve got a good seat at the Nicki Minaj show?\u003c/strong>\u003c/h2>\n\u003cp>If you are anxious about anything obscuring your sight of the stage or how you want to get to your seat fast, you can check it out on Oakland \u003ca href=\"https://www.theoaklandarena.com/seating-charts\">Arena’s website\u003c/a> or \u003ca href=\"https://aviewfrommyseat.com/venue/Oakland+Arena/\">A View From My Seat\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003cstrong>Prepare for a super-crowded stadium experience\u003c/strong>\u003c/h2>\n\u003cp>There’s no shame in getting a little antsy in big crowds like this — in a packed stadium, it’s normal to feel a little overwhelmed. Read \u003ca href=\"https://www.npr.org/2021/11/09/1053828800/south-korea-seoul-halloween-crowd-safety-tips\">NPR’s full guide on what to do if you find yourself caught in a crowd crush.\u003c/a>\u003c/p>\n\u003cp>According to Mehdi Moussaïd, a research scientist in Berlin who studies crowd behavior, \u003ca href=\"https://www.npr.org/2021/11/09/1053828800/south-korea-seoul-halloween-crowd-safety-tips\">rely on your instincts and senses if you feel like the crowd is getting too dense\u003c/a>. If you get stuck in a crush, move with the crowd, put your arms out in front of your chest and hold them there.\u003c/p>\n\u003cp>“In this position, you would have some space, just a little bit, to push for half a centimeter or just 1 centimeter — enough for you to keep breathing,” Moussaïd said to NPR in 2022. “It’s not going to be comfortable. You’re going to be feeling really bad, but at least you’ll survive.”\u003c/p>\n\u003ch2>\u003cstrong>Can I still get a ticket for Nicki Minaj at Oakland Arena?\u003c/strong>\u003c/h2>\n\u003cp>\u003ca href=\"https://www.ticketmaster.com/nicki-minaj-presents-pink-friday-2-oakland-california-03-01-2024/event/1C005F86B2692B5B\">Tickets are still being offered on Ticketmaster\u003c/a>, which is the most official way to secure your seat at the Nicki Minaj show for $88 and up. (If you need accessible tickets, be sure to filter for them on Ticketmaster’s website.) You can also find \u003ca href=\"https://www.stubhub.com/nicki-minaj-oakland-tickets-3-1-2024/event/152728261/\">resales on sites like StubHub\u003c/a> or look for better deals and seats on Facebook marketplace resales and Eventbrite.\u003c/p>\n\u003cp>If you’re buying a resale ticket, a note: \u003ca href=\"https://abc7news.com/taylor-swift-scams-concert-tickets-better-business-bureau/13474055/\">The Better Businesses Bureau issued a warning about resale scams\u003c/a> during Taylor Swift’s Eras Tour, with many people discovering after sending the money through apps like Venmo or Zelle that these “tickets” never existed. Check out the person’s profile and their past posting history to see if it seems real. And \u003ca href=\"https://www.bbb.org/article/scams/28902-bbb-scam-alert-spot-the-scam-before-paying-big-bucks-for-taylor-swift-tickets\">if you do choose to buy a resale, use your credit card,\u003c/a> says the BBB. This at least provides some protection for you if the deal was fake.\u003c/p>\n\u003cp>If you are getting a resale from a friend, \u003ca href=\"https://www.bbb.org/article/scams/28902-bbb-scam-alert-spot-the-scam-before-paying-big-bucks-for-taylor-swift-tickets\">make sure you call your friend directly\u003c/a> — to make sure someone isn’t impersonating them online.\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11977219/seeing-nicki-minaj-at-oakland-arena-everything-to-know-from-parking-to-bag-policies",
"authors": [
"11867"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_19133",
"news_32662",
"news_32707",
"news_3772",
"news_27626",
"news_1425",
"news_33860"
],
"featImg": "news_11977259",
"label": "news"
},
"news_11976698": {
"type": "posts",
"id": "news_11976698",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11976698",
"score": null,
"sort": [
1708639213000
]
},
"guestAuthors": [],
"slug": "madonna-chase-center-san-francisco-parking-bag-policy",
"title": "Seeing Madonna at SF's Chase Center? From Parking to Bag Policies and Parties, What to Know",
"publishDate": 1708639213,
"format": "image",
"headTitle": "Seeing Madonna at SF’s Chase Center? From Parking to Bag Policies and Parties, What to Know | KQED",
"labelTerm": {
"site": "news"
},
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/pop/tag/madonna\">Pop music icon Madonna\u003c/a> is bringing her Celebration Tour — her first since 2019’s \u003ca href=\"https://www.rollingstone.com/music/music-live-reviews/madonna-madame-x-tour-sheffield-887601/\">modest theater affair in support of her album \u003ci>Madame X\u003c/i>\u003c/a> — to San Francisco with two consecutive nights of shows at Chase Center on Tuesday, Feb. 27 and Wednesday, Feb. 28.\u003c/p>\n\u003cp>The tour was off to a bumpy start: Last June, while rehearsals were underway, the 65-year-old singer was \u003ca href=\"https://www.nytimes.com/2023/06/28/arts/music/madonna-hospitalized-celebration-tour-postponed.html\">hospitalized due to a severe bacterial infection\u003c/a>, which postponed the entire North American leg of the tour.\u003c/p>\n\u003cp>\u003ca href=\"https://www.chasecenter.com/news/madonna-announcement-20240227-20240228\">Madonna’s two rescheduled San Francisco shows\u003c/a> were originally intended to take place on Oct. 4 and 5, 2023. \u003ca href=\"https://www.chasecenter.com/news/madonna-announcement-20240227-20240228\">A third San Francisco show, initially set for Jan. 15, was ultimately canceled\u003c/a> due to scheduling conflicts and refunds were issued to ticket holders.\u003c/p>\n\u003cp>Despite setbacks, \u003ca href=\"https://www.billboard.com/music/pop/madonna-tour-opener-london-1235442708/\">The Celebration Tour kicked off in October with an emotional show\u003c/a> in London before making its way to North American cities. The tour, coming off the heels of her remix album \u003ca href=\"https://open.spotify.com/album/5WWD7T6lI2JV1oyABrFq10\">\u003ci>Finally Enough Love: 50 Number Ones\u003c/i>\u003c/a>, celebrates the artist’s vast catalog of hits over four decades.\u003c/p>\n\u003cp>So if you’ve got tickets for one of Madonna’s SF shows — and you want to quit worrying about logistics and enjoy screaming every word to “Like a Prayer” like your life depends on it — keep reading our guide to everything from Chase Center parking, bag policies, Madonna-themed parties and more. (And for the most up-to-date details, \u003ca href=\"https://twitter.com/ChaseCenter\">follow Chase Center on social media \u003c/a>for any last-minute updates.)\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#bagpolicy\">What’s the Chase Center bag policy?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#accessibility\">What should I know about accessibility at Chase Center?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#ticket\">Can I still get a ticket for the Madonna shows?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>What time do Madonna’s shows at Chase Center start?\u003c/h2>\n\u003cp>This is … a loaded question for those in the know.\u003c/p>\n\u003cp>Last month, \u003ca href=\"https://www.billboard.com/business/legal/madonna-fans-lawsuit-delayed-concert-start-times-1235584585/\">concertgoers in New York City filed a federal class action lawsuit\u003c/a> against the Queen of Pop, claiming that she breached her contract with ticket buyers and violated New York state laws by starting three December shows at Brooklyn’s Barclays Center past 10:30 p.m. rather than the scheduled 8:30 p.m. (And \u003ca href=\"https://www.vulture.com/2024/01/madonna-concert-lawsuit-explainer.html\">it’s not even the \u003ci>first \u003c/i>time she’s been sued for this\u003c/a>.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.chasecenter.com/events/madonna-20240227\">The Chase Center website similarly notes the same 8:30 p.m. start time\u003c/a> for her two San Francisco shows. However, Madonna has routinely been starting her set around or after 10 p.m., based on reports from her past concerts in \u003ca href=\"https://www.latimes.com/entertainment-arts/music/story/2023-12-14/madonna-starts-barclays-brooklyn-late-us-celebration-tour\">New York\u003c/a>, \u003ca href=\"https://www.chicagotribune.com/2024/02/02/madonna-celebration-tour-chicago-review/\">Chicago\u003c/a>, \u003ca href=\"https://www.cbsnews.com/philadelphia/news/madonna-concert-philadelphia-setlist-time-stage-10-pm/\">Philadelphia\u003c/a> and \u003ca href=\"https://www.reddit.com/r/Madonna/comments/191q8qx/at_what_time_madonna_will_be_on_the_stage_and_how/\">Boston\u003c/a>.\u003c/p>\n\u003cp>The superstar usually brings along a DJ to keep the crowd entertained before showtime, with Honey Dijon, Arca and Diplo among the list of names who have opened for her on this tour so far.\u003c/p>\n\u003cp>The doors open at 7:30 p.m. — so we recommend aiming to get to the venue \u003ci>by \u003c/i>8:30 p.m. if you don’t want to miss any of the fun. And maybe prepare for a late night and know when your last train home is.\u003c/p>\n\u003ch2>\u003ca id=\"bagpolicy\">\u003c/a>What’s the Chase Center bag policy?\u003c/h2>\n\u003cp>Backpacks (except for single-compartment drawstring bags) and hard-sided bags of any kind are prohibited from entering Chase Center. Any other bag you bring must be smaller than 14” x 14” x 6” in size.\u003c/p>\n\u003cp>Bags that do not meet the requirements can be checked at one of two bag check locations for a fee of $10. Chase Center says that proceeds generated from the bag check counters will be donated to the \u003ca href=\"https://community.warriors.com/foundation/\">Warriors Community Foundation\u003c/a>, which supports education and youth development in the Bay Area.\u003c/p>\n\u003cp>Here are some more \u003ca href=\"https://www.chasecenter.com/a-to-z-guide\">things you cannot bring into the Madonna shows at Chase Center\u003c/a>:\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">Bottles and cans.\u003c/li>\n\u003cli style=\"font-weight: 400\">Refillable water bottles.\u003c/li>\n\u003cli style=\"font-weight: 400\">Signs over 11 x 17 inches or attached to any pole or stick.\u003c/li>\n\u003cli style=\"font-weight: 400\">Masks that cover the whole face. (Face coverings to lower your risks of catching — or spreading — COVID-19, like N95 masks, are allowed.)\u003c/li>\n\u003cli style=\"font-weight: 400\">Lights, tripods and professional recording equipment. Flash photography is not allowed.\u003c/li>\n\u003cli style=\"font-weight: 400\">Noise-making devices, such as air horns, whistles or cow bells.\u003c/li>\n\u003cli style=\"font-weight: 400\">Weapons and self-defense items of any kind, including mace, knives and tasers.\u003c/li>\n\u003cli style=\"font-weight: 400\">Selfie sticks.\u003c/li>\n\u003c/ul>\n\u003cp>What else \u003ci>can \u003c/i>you bring to Chase Center? These items include:\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">Baby bags, plastic bottles and formula.\u003c/li>\n\u003cli style=\"font-weight: 400\">Diaper bags (with a child).\u003c/li>\n\u003cli style=\"font-weight: 400\">Bags accepted as medical bags.\u003c/li>\n\u003cli style=\"font-weight: 400\">Umbrellas.\u003c/li>\n\u003cli style=\"font-weight: 400\">Binoculars.\u003c/li>\n\u003c/ul>\n\u003cp>While portable phone chargers are not on the prohibited items list (\u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets\">like they initially were at Levi’s Stadium for Taylor Swift’s Eras tour dates last year\u003c/a>), Chase Center also offers charging stations compatible with most cellphone devices. Guests may rent a portable charger to take back to their seats at a cost of $2 for every 30 minutes.\u003c/p>\n\u003ch2>How do I know if I’ve got a good seat at the Madonna Chase Center show?\u003c/h2>\n\u003cp>If you are anxious about anything obscuring your sight of the stage or how you want to get to your seat fast, you can \u003ca href=\"https://warriors.io-media.com/web/index.html#\">check out the view from your seat using Chase Center’s Virtual Venue map\u003c/a>.\u003c/p>\n\u003ch2>\u003ca id=\"accessibility\">\u003c/a>What should I know about accessibility at Chase Center?\u003c/h2>\n\u003cp>Chase Center addresses questions about accessibility in their online \u003ca href=\"https://www.chasecenter.com/a-to-z-guide\">A to Z Guide\u003c/a>, where you can find information about accessible parking, hearing assistance, ADA-compliant restrooms and service animals.\u003c/p>\n\u003cp>The venue says guests can request complimentary wheelchair escorts by visiting the kiosks located at \u003ca href=\"https://cdn.nba.com/teams/uploads/sites/1610612744/2024/02/CC_Portals_Map_Update_3202x2550_2024-.jpg\">Portal 13 and Portal 52\u003c/a> or texting 833-CC4FANS.\u003c/p>\n\u003cp>To schedule an American Sign Language interpreter, guests should contact \u003ca href=\"mailto:guestexperiences@warriors.com\">guestexperiences@warriors.com\u003c/a> ahead of time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>What should I know about parking at and near Chase Center?\u003c/h2>\n\u003cp>At the time of publication, parking tickets for the official onsite parking facilities at Chase Center are \u003ca href=\"https://www.ticketmaster.com/chase-center-tickets-san-francisco/venue/230012?tab=addOns&daterange=all&addOnType=all&utm_source=cc-digital&utm_medium=parking-page&utm_campaign=cta&_ga=2.79552919.2026375834.1708029043-1914965787.1708029043\">sold out for both shows\u003c/a>.\u003c/p>\n\u003cp>A limited number of \u003ca href=\"https://chasecenter.com/parking\">accessible parking spaces\u003c/a> are available for purchase on a first-come, first-served basis and cost between $60 and $100, depending on the size of your vehicle and the event, a Chase Center representative confirmed.\u003c/p>\n\u003cp>The venue’s website refers fans to the third-party parking website \u003ca href=\"https://www.parkwhiz.com/chase-center-parking/\">ParkWhiz\u003c/a> for other non-Chase Center parking options nearby. It costs $45 to reserve a spot at the nearest garage, which is about a 10-minute walk from the venue. Cheaper options starting at $12 are available for those willing and able to trek over a mile on foot — or take public transit for your last mile or two. So, if you’re driving to the show but haven’t secured your parking yet, consider wearing comfier shoes.\u003c/p>\n\u003ch2>What about using rideshare services at Chase Center?\u003c/h2>\n\u003cp>While getting \u003ci>to \u003c/i>the venue using a rideshare service might be fairly smooth, trying to find a car after the show is almost certainly going to be a challenge — speaking from personal experience. Due to surge pricing, it will also be far more expensive to get an Uber or Lyft as you exit the venue.\u003c/p>\n\u003cp>There are multiple \u003ca href=\"https://images.ctfassets.net/0lzgl3qjkmm1/6k8OJ6yu4tTfjV4wHsmKTG/0b4cc696d2b3f2360ad34bbc16ffbffd/uber-map.png\">designated pick-up and drop-off zones\u003c/a> located within one block of Chase Center. Upon arrival, use one of the designated passenger loading zones (white curbs) along Terry A Francois Boulevard for a safe curbside drop-off.\u003c/p>\n\u003cp>As you leave the show, the rideshare apps will automatically show you the best places to get picked up \u003ca href=\"https://images.ctfassets.net/0lzgl3qjkmm1/6k8OJ6yu4tTfjV4wHsmKTG/0b4cc696d2b3f2360ad34bbc16ffbffd/uber-map.png\">within a five-minute walk radius\u003c/a>. The Chase Center website recommends walking a few blocks away before requesting a ride.\u003c/p>\n\u003cp>Accessible drop-offs and pick-ups are along the curb of 16th Street and Terry Francois Boulevard, with accessible entry and exit from the East Entrance. For folks with mobility considerations, the venue can provide a wheelchair to transport guests from Thrive City Plaza or the main lobby to their seats.\u003c/p>\n\u003ch2>What’s the best way to take public transit to the Madonna concert?\u003c/h2>\n\u003cp>Public transit schedules can always be subject to change. Check the timings for your route on the day of the show itself, and be sure of your very last service home. (Remember, as above, Madonna is known for not starting her shows exactly on time.)\u003c/p>\n\u003cfigure id=\"attachment_11976704\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11976704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080.jpg\" alt=\"A map showing different transportation routes in San Francisco.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080-160x160.jpg 160w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A map showing different transportation routes in San Francisco. \u003ccite>(Courtesy of the SFMTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>SF Muni\u003c/strong>\u003c/p>\n\u003cp>Any Chase Center patron who shows their event ticket at Muni turnstiles and boarding platforms can \u003ca href=\"https://www.chasecenter.com/transportation-guide\">ride Muni without charge\u003c/a>.\u003c/p>\n\u003cp>There is a Muni Metro rail stop serving the venue on the T-Third Street line, which connects Chinatown and Sunnydale. \u003ca href=\"https://www.sfmta.com/routes/t-third-street\">See the Muni Metro schedule.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>BART\u003c/strong>\u003c/p>\n\u003cp>Several BART stations have convenient connections to get to the venue.\u003c/p>\n\u003cp>Muni Route 22 connects to the 16th Street Mission BART station. This stop is located on Third Street and Gene Friend Way.\u003c/p>\n\u003cp>Muni Route 15 serves as a connection to Montgomery Street BART station. This stop is located on Third Street and Warriors Way.\u003c/p>\n\u003cp>You can transfer to the new Union Square Muni Metro rail station from Powell BART station via the underground corridor to take the T-Third Street line or S-Shuttle Mission Bay line to the UCSF/Chase Center stop.\u003c/p>\n\u003cp>You can \u003ca href=\"https://www.bart.gov/\">find more information and schedules on the BART website\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Caltrain\u003c/strong>\u003c/p>\n\u003cp>If you take Caltrain to San Francisco, you can walk 15–20 minutes along Fourth Street and turn left on Gene Friend Way to Chase Center.\u003c/p>\n\u003cp>You can also transfer from the Caltrain station to the Muni Metro T-Third Street platform located across the street and take Muni to the UCSF/Chase Center stop.\u003c/p>\n\u003cp>On weekdays, the last Caltrain from San Francisco departs at 12:03 a.m. \u003ca href=\"https://www.caltrain.com/\">See the Caltrain schedule here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Biking\u003c/strong>\u003c/p>\n\u003cp>Chase Center offers guests free secure bike storage from 1 hour before doors open until one hour after the end of the event.\u003c/p>\n\u003cp>Public bike parking is available along 16th Street and Terry Francois Boulevard.\u003c/p>\n\u003cp>There is also a Lyft/Bay Wheels bike share station at the intersection of Warriors Way and Terry Francois Boulevard. While they’re convenient and easy to use, the limited availability of these bikes means you should have a backup plan — or you might get stranded.\u003c/p>\n\u003ch2>\u003ca id=\"ticket\">\u003c/a>Can I still get a ticket for the Madonna shows?\u003c/h2>\n\u003cp>Some \u003ca href=\"https://www.ticketmaster.com/madonna-tickets/artist/768011?landing=c&awtrc=true&c=SEM_TMMCONCERTS_ggl_20462663432_151203248534_madonna%20tour&GCID=0&&gad_source=1&gclid=CjwKCAiArLyuBhA7EiwA-qo80Fmnest6OwH7GTjMdmMGoA3Bi0hwbEpQPtMXOHZYbeT78qqSfXWoRBoCi_8QAvD_BwE&gclsrc=aw.ds\">side-view tickets were made available for both nights\u003c/a>, starting at a steep $167.50. These are the only face-value tickets remaining for the otherwise sold-out shows.\u003c/p>\n\u003cp>However, Ticketmaster is allowing resale on their platform for Madonna’s tour, which is the most secure way to buy second-hand tickets. \u003ca href=\"https://www.ticketmaster.com/madonna-tickets/artist/768011?landing=c&awtrc=true&c=SEM_TMMCONCERTS_ggl_20462663432_151203248534_madonna%20tour&GCID=0&&gad_source=1&gclid=CjwKCAiArLyuBhA7EiwA-qo80Fmnest6OwH7GTjMdmMGoA3Bi0hwbEpQPtMXOHZYbeT78qqSfXWoRBoCi_8QAvD_BwE&gclsrc=aw.ds\">Floor seats\u003c/a> are available starting at $1,125 for the Tuesday show and $800 for the Wednesday show. You can also find \u003ca href=\"https://www.stubhub.com/madonna-tickets/performer/13127?AffiliateID=49&adposition=&PCID=PSUSGOOCONMADONFA34EDF2DF&AdID=690699587673&MetroRegionID=&psc=&psc=&ps=&ps=&ps_p=0&ps_c=20499395943&ps_ag=153156841139&ps_tg=kwd-1994819690067&ps_ad=690699587673&ps_adp=&ps_adp=&ps_fi=&ps_fi=&ps_li=&ps_li=&ps_lp=9061268&ps_n=g&ps_d=c&ps_ex=&gcid=C12289X486&utm_source=google&utm_medium=paid-search&utm_sub_medium=prospecting&utm_term=nb&utm_campaign=20499395943%3adefault&utm_content=default&keyword=153156841139_kwd-1994819690067_c&creative=690699587673&utm_kxconfid=s2rshsbmv&kwt=nb&mt=b&kw=madonna+celebration+tour+tickets&gad_source=1&gclid=CjwKCAiArLyuBhA7EiwA-qo80G6SEPjE2xB4ltF_QooQwGLPRXsqvZ_Aod2X8qBjIfF-lFV8EyM9SBoCEcAQAvD_BwE\">resale tickets on sites like StubHub\u003c/a>, but make sure you’re not purchasing fake tickets. \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets#taylorswifttickets\">Read more tips about avoiding ticket resale scams\u003c/a>.\u003c/p>\n\u003ch2>Are there Madonna-themed after-parties?\u003c/h2>\n\u003cp>For those attending the Wednesday show, Castro nightclub \u003ca href=\"https://www.eventbrite.com/e/pan-dulce-madonna-tribute-concert-hump-day-after-party-beaux-sf-tickets-828207279267\">Beaux SF is turning their weekly Wednesday event, Pan Dulce, into an after-party\u003c/a>.\u003c/p>\n\u003cp>If you want to keep the Madonna energy going through the weekend, Cat Club is hosting a \u003ca href=\"https://www.eventbrite.com/e/madonnapocalypse-bootie-mashup-tickets-821046741907\">Madonnapocalypse\u003c/a> event on Saturday, March 2, with drag and burlesque tributes to the musician and project her iconic music videos all night.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "Madonna is making a return to the stage this month. Here’s everything you need to know to prepare for her concerts at Chase Center in San Francisco.",
"status": "publish",
"parent": 0,
"modified": 1721148648,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 51,
"wordCount": 1862
},
"headData": {
"title": "Seeing Madonna at SF's Chase Center? From Parking to Bag Policies and Parties, What to Know | KQED",
"description": "Madonna is making a return to the stage this month. Here’s everything you need to know to prepare for her concerts at Chase Center in San Francisco.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Seeing Madonna at SF's Chase Center? From Parking to Bag Policies and Parties, What to Know",
"datePublished": "2024-02-22T14:00:13-08:00",
"dateModified": "2024-07-16T09:50:48-07:00",
"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,
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/news/11976698/madonna-chase-center-san-francisco-parking-bag-policy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/pop/tag/madonna\">Pop music icon Madonna\u003c/a> is bringing her Celebration Tour — her first since 2019’s \u003ca href=\"https://www.rollingstone.com/music/music-live-reviews/madonna-madame-x-tour-sheffield-887601/\">modest theater affair in support of her album \u003ci>Madame X\u003c/i>\u003c/a> — to San Francisco with two consecutive nights of shows at Chase Center on Tuesday, Feb. 27 and Wednesday, Feb. 28.\u003c/p>\n\u003cp>The tour was off to a bumpy start: Last June, while rehearsals were underway, the 65-year-old singer was \u003ca href=\"https://www.nytimes.com/2023/06/28/arts/music/madonna-hospitalized-celebration-tour-postponed.html\">hospitalized due to a severe bacterial infection\u003c/a>, which postponed the entire North American leg of the tour.\u003c/p>\n\u003cp>\u003ca href=\"https://www.chasecenter.com/news/madonna-announcement-20240227-20240228\">Madonna’s two rescheduled San Francisco shows\u003c/a> were originally intended to take place on Oct. 4 and 5, 2023. \u003ca href=\"https://www.chasecenter.com/news/madonna-announcement-20240227-20240228\">A third San Francisco show, initially set for Jan. 15, was ultimately canceled\u003c/a> due to scheduling conflicts and refunds were issued to ticket holders.\u003c/p>\n\u003cp>Despite setbacks, \u003ca href=\"https://www.billboard.com/music/pop/madonna-tour-opener-london-1235442708/\">The Celebration Tour kicked off in October with an emotional show\u003c/a> in London before making its way to North American cities. The tour, coming off the heels of her remix album \u003ca href=\"https://open.spotify.com/album/5WWD7T6lI2JV1oyABrFq10\">\u003ci>Finally Enough Love: 50 Number Ones\u003c/i>\u003c/a>, celebrates the artist’s vast catalog of hits over four decades.\u003c/p>\n\u003cp>So if you’ve got tickets for one of Madonna’s SF shows — and you want to quit worrying about logistics and enjoy screaming every word to “Like a Prayer” like your life depends on it — keep reading our guide to everything from Chase Center parking, bag policies, Madonna-themed parties and more. (And for the most up-to-date details, \u003ca href=\"https://twitter.com/ChaseCenter\">follow Chase Center on social media \u003c/a>for any last-minute updates.)\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#bagpolicy\">What’s the Chase Center bag policy?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#accessibility\">What should I know about accessibility at Chase Center?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#ticket\">Can I still get a ticket for the Madonna shows?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>What time do Madonna’s shows at Chase Center start?\u003c/h2>\n\u003cp>This is … a loaded question for those in the know.\u003c/p>\n\u003cp>Last month, \u003ca href=\"https://www.billboard.com/business/legal/madonna-fans-lawsuit-delayed-concert-start-times-1235584585/\">concertgoers in New York City filed a federal class action lawsuit\u003c/a> against the Queen of Pop, claiming that she breached her contract with ticket buyers and violated New York state laws by starting three December shows at Brooklyn’s Barclays Center past 10:30 p.m. rather than the scheduled 8:30 p.m. (And \u003ca href=\"https://www.vulture.com/2024/01/madonna-concert-lawsuit-explainer.html\">it’s not even the \u003ci>first \u003c/i>time she’s been sued for this\u003c/a>.)\u003c/p>\n\u003cp>\u003ca href=\"https://www.chasecenter.com/events/madonna-20240227\">The Chase Center website similarly notes the same 8:30 p.m. start time\u003c/a> for her two San Francisco shows. However, Madonna has routinely been starting her set around or after 10 p.m., based on reports from her past concerts in \u003ca href=\"https://www.latimes.com/entertainment-arts/music/story/2023-12-14/madonna-starts-barclays-brooklyn-late-us-celebration-tour\">New York\u003c/a>, \u003ca href=\"https://www.chicagotribune.com/2024/02/02/madonna-celebration-tour-chicago-review/\">Chicago\u003c/a>, \u003ca href=\"https://www.cbsnews.com/philadelphia/news/madonna-concert-philadelphia-setlist-time-stage-10-pm/\">Philadelphia\u003c/a> and \u003ca href=\"https://www.reddit.com/r/Madonna/comments/191q8qx/at_what_time_madonna_will_be_on_the_stage_and_how/\">Boston\u003c/a>.\u003c/p>\n\u003cp>The superstar usually brings along a DJ to keep the crowd entertained before showtime, with Honey Dijon, Arca and Diplo among the list of names who have opened for her on this tour so far.\u003c/p>\n\u003cp>The doors open at 7:30 p.m. — so we recommend aiming to get to the venue \u003ci>by \u003c/i>8:30 p.m. if you don’t want to miss any of the fun. And maybe prepare for a late night and know when your last train home is.\u003c/p>\n\u003ch2>\u003ca id=\"bagpolicy\">\u003c/a>What’s the Chase Center bag policy?\u003c/h2>\n\u003cp>Backpacks (except for single-compartment drawstring bags) and hard-sided bags of any kind are prohibited from entering Chase Center. Any other bag you bring must be smaller than 14” x 14” x 6” in size.\u003c/p>\n\u003cp>Bags that do not meet the requirements can be checked at one of two bag check locations for a fee of $10. Chase Center says that proceeds generated from the bag check counters will be donated to the \u003ca href=\"https://community.warriors.com/foundation/\">Warriors Community Foundation\u003c/a>, which supports education and youth development in the Bay Area.\u003c/p>\n\u003cp>Here are some more \u003ca href=\"https://www.chasecenter.com/a-to-z-guide\">things you cannot bring into the Madonna shows at Chase Center\u003c/a>:\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">Bottles and cans.\u003c/li>\n\u003cli style=\"font-weight: 400\">Refillable water bottles.\u003c/li>\n\u003cli style=\"font-weight: 400\">Signs over 11 x 17 inches or attached to any pole or stick.\u003c/li>\n\u003cli style=\"font-weight: 400\">Masks that cover the whole face. (Face coverings to lower your risks of catching — or spreading — COVID-19, like N95 masks, are allowed.)\u003c/li>\n\u003cli style=\"font-weight: 400\">Lights, tripods and professional recording equipment. Flash photography is not allowed.\u003c/li>\n\u003cli style=\"font-weight: 400\">Noise-making devices, such as air horns, whistles or cow bells.\u003c/li>\n\u003cli style=\"font-weight: 400\">Weapons and self-defense items of any kind, including mace, knives and tasers.\u003c/li>\n\u003cli style=\"font-weight: 400\">Selfie sticks.\u003c/li>\n\u003c/ul>\n\u003cp>What else \u003ci>can \u003c/i>you bring to Chase Center? These items include:\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">Baby bags, plastic bottles and formula.\u003c/li>\n\u003cli style=\"font-weight: 400\">Diaper bags (with a child).\u003c/li>\n\u003cli style=\"font-weight: 400\">Bags accepted as medical bags.\u003c/li>\n\u003cli style=\"font-weight: 400\">Umbrellas.\u003c/li>\n\u003cli style=\"font-weight: 400\">Binoculars.\u003c/li>\n\u003c/ul>\n\u003cp>While portable phone chargers are not on the prohibited items list (\u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets\">like they initially were at Levi’s Stadium for Taylor Swift’s Eras tour dates last year\u003c/a>), Chase Center also offers charging stations compatible with most cellphone devices. Guests may rent a portable charger to take back to their seats at a cost of $2 for every 30 minutes.\u003c/p>\n\u003ch2>How do I know if I’ve got a good seat at the Madonna Chase Center show?\u003c/h2>\n\u003cp>If you are anxious about anything obscuring your sight of the stage or how you want to get to your seat fast, you can \u003ca href=\"https://warriors.io-media.com/web/index.html#\">check out the view from your seat using Chase Center’s Virtual Venue map\u003c/a>.\u003c/p>\n\u003ch2>\u003ca id=\"accessibility\">\u003c/a>What should I know about accessibility at Chase Center?\u003c/h2>\n\u003cp>Chase Center addresses questions about accessibility in their online \u003ca href=\"https://www.chasecenter.com/a-to-z-guide\">A to Z Guide\u003c/a>, where you can find information about accessible parking, hearing assistance, ADA-compliant restrooms and service animals.\u003c/p>\n\u003cp>The venue says guests can request complimentary wheelchair escorts by visiting the kiosks located at \u003ca href=\"https://cdn.nba.com/teams/uploads/sites/1610612744/2024/02/CC_Portals_Map_Update_3202x2550_2024-.jpg\">Portal 13 and Portal 52\u003c/a> or texting 833-CC4FANS.\u003c/p>\n\u003cp>To schedule an American Sign Language interpreter, guests should contact \u003ca href=\"mailto:guestexperiences@warriors.com\">guestexperiences@warriors.com\u003c/a> ahead of time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>What should I know about parking at and near Chase Center?\u003c/h2>\n\u003cp>At the time of publication, parking tickets for the official onsite parking facilities at Chase Center are \u003ca href=\"https://www.ticketmaster.com/chase-center-tickets-san-francisco/venue/230012?tab=addOns&daterange=all&addOnType=all&utm_source=cc-digital&utm_medium=parking-page&utm_campaign=cta&_ga=2.79552919.2026375834.1708029043-1914965787.1708029043\">sold out for both shows\u003c/a>.\u003c/p>\n\u003cp>A limited number of \u003ca href=\"https://chasecenter.com/parking\">accessible parking spaces\u003c/a> are available for purchase on a first-come, first-served basis and cost between $60 and $100, depending on the size of your vehicle and the event, a Chase Center representative confirmed.\u003c/p>\n\u003cp>The venue’s website refers fans to the third-party parking website \u003ca href=\"https://www.parkwhiz.com/chase-center-parking/\">ParkWhiz\u003c/a> for other non-Chase Center parking options nearby. It costs $45 to reserve a spot at the nearest garage, which is about a 10-minute walk from the venue. Cheaper options starting at $12 are available for those willing and able to trek over a mile on foot — or take public transit for your last mile or two. So, if you’re driving to the show but haven’t secured your parking yet, consider wearing comfier shoes.\u003c/p>\n\u003ch2>What about using rideshare services at Chase Center?\u003c/h2>\n\u003cp>While getting \u003ci>to \u003c/i>the venue using a rideshare service might be fairly smooth, trying to find a car after the show is almost certainly going to be a challenge — speaking from personal experience. Due to surge pricing, it will also be far more expensive to get an Uber or Lyft as you exit the venue.\u003c/p>\n\u003cp>There are multiple \u003ca href=\"https://images.ctfassets.net/0lzgl3qjkmm1/6k8OJ6yu4tTfjV4wHsmKTG/0b4cc696d2b3f2360ad34bbc16ffbffd/uber-map.png\">designated pick-up and drop-off zones\u003c/a> located within one block of Chase Center. Upon arrival, use one of the designated passenger loading zones (white curbs) along Terry A Francois Boulevard for a safe curbside drop-off.\u003c/p>\n\u003cp>As you leave the show, the rideshare apps will automatically show you the best places to get picked up \u003ca href=\"https://images.ctfassets.net/0lzgl3qjkmm1/6k8OJ6yu4tTfjV4wHsmKTG/0b4cc696d2b3f2360ad34bbc16ffbffd/uber-map.png\">within a five-minute walk radius\u003c/a>. The Chase Center website recommends walking a few blocks away before requesting a ride.\u003c/p>\n\u003cp>Accessible drop-offs and pick-ups are along the curb of 16th Street and Terry Francois Boulevard, with accessible entry and exit from the East Entrance. For folks with mobility considerations, the venue can provide a wheelchair to transport guests from Thrive City Plaza or the main lobby to their seats.\u003c/p>\n\u003ch2>What’s the best way to take public transit to the Madonna concert?\u003c/h2>\n\u003cp>Public transit schedules can always be subject to change. Check the timings for your route on the day of the show itself, and be sure of your very last service home. (Remember, as above, Madonna is known for not starting her shows exactly on time.)\u003c/p>\n\u003cfigure id=\"attachment_11976704\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11976704\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080.jpg\" alt=\"A map showing different transportation routes in San Francisco.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/CC_BM_20231005_CC_Transportation_MapCC_BM_20231005_CC_Transportation_Map_1080x1080-160x160.jpg 160w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A map showing different transportation routes in San Francisco. \u003ccite>(Courtesy of the SFMTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>SF Muni\u003c/strong>\u003c/p>\n\u003cp>Any Chase Center patron who shows their event ticket at Muni turnstiles and boarding platforms can \u003ca href=\"https://www.chasecenter.com/transportation-guide\">ride Muni without charge\u003c/a>.\u003c/p>\n\u003cp>There is a Muni Metro rail stop serving the venue on the T-Third Street line, which connects Chinatown and Sunnydale. \u003ca href=\"https://www.sfmta.com/routes/t-third-street\">See the Muni Metro schedule.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>BART\u003c/strong>\u003c/p>\n\u003cp>Several BART stations have convenient connections to get to the venue.\u003c/p>\n\u003cp>Muni Route 22 connects to the 16th Street Mission BART station. This stop is located on Third Street and Gene Friend Way.\u003c/p>\n\u003cp>Muni Route 15 serves as a connection to Montgomery Street BART station. This stop is located on Third Street and Warriors Way.\u003c/p>\n\u003cp>You can transfer to the new Union Square Muni Metro rail station from Powell BART station via the underground corridor to take the T-Third Street line or S-Shuttle Mission Bay line to the UCSF/Chase Center stop.\u003c/p>\n\u003cp>You can \u003ca href=\"https://www.bart.gov/\">find more information and schedules on the BART website\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Caltrain\u003c/strong>\u003c/p>\n\u003cp>If you take Caltrain to San Francisco, you can walk 15–20 minutes along Fourth Street and turn left on Gene Friend Way to Chase Center.\u003c/p>\n\u003cp>You can also transfer from the Caltrain station to the Muni Metro T-Third Street platform located across the street and take Muni to the UCSF/Chase Center stop.\u003c/p>\n\u003cp>On weekdays, the last Caltrain from San Francisco departs at 12:03 a.m. \u003ca href=\"https://www.caltrain.com/\">See the Caltrain schedule here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Biking\u003c/strong>\u003c/p>\n\u003cp>Chase Center offers guests free secure bike storage from 1 hour before doors open until one hour after the end of the event.\u003c/p>\n\u003cp>Public bike parking is available along 16th Street and Terry Francois Boulevard.\u003c/p>\n\u003cp>There is also a Lyft/Bay Wheels bike share station at the intersection of Warriors Way and Terry Francois Boulevard. While they’re convenient and easy to use, the limited availability of these bikes means you should have a backup plan — or you might get stranded.\u003c/p>\n\u003ch2>\u003ca id=\"ticket\">\u003c/a>Can I still get a ticket for the Madonna shows?\u003c/h2>\n\u003cp>Some \u003ca href=\"https://www.ticketmaster.com/madonna-tickets/artist/768011?landing=c&awtrc=true&c=SEM_TMMCONCERTS_ggl_20462663432_151203248534_madonna%20tour&GCID=0&&gad_source=1&gclid=CjwKCAiArLyuBhA7EiwA-qo80Fmnest6OwH7GTjMdmMGoA3Bi0hwbEpQPtMXOHZYbeT78qqSfXWoRBoCi_8QAvD_BwE&gclsrc=aw.ds\">side-view tickets were made available for both nights\u003c/a>, starting at a steep $167.50. These are the only face-value tickets remaining for the otherwise sold-out shows.\u003c/p>\n\u003cp>However, Ticketmaster is allowing resale on their platform for Madonna’s tour, which is the most secure way to buy second-hand tickets. \u003ca href=\"https://www.ticketmaster.com/madonna-tickets/artist/768011?landing=c&awtrc=true&c=SEM_TMMCONCERTS_ggl_20462663432_151203248534_madonna%20tour&GCID=0&&gad_source=1&gclid=CjwKCAiArLyuBhA7EiwA-qo80Fmnest6OwH7GTjMdmMGoA3Bi0hwbEpQPtMXOHZYbeT78qqSfXWoRBoCi_8QAvD_BwE&gclsrc=aw.ds\">Floor seats\u003c/a> are available starting at $1,125 for the Tuesday show and $800 for the Wednesday show. You can also find \u003ca href=\"https://www.stubhub.com/madonna-tickets/performer/13127?AffiliateID=49&adposition=&PCID=PSUSGOOCONMADONFA34EDF2DF&AdID=690699587673&MetroRegionID=&psc=&psc=&ps=&ps=&ps_p=0&ps_c=20499395943&ps_ag=153156841139&ps_tg=kwd-1994819690067&ps_ad=690699587673&ps_adp=&ps_adp=&ps_fi=&ps_fi=&ps_li=&ps_li=&ps_lp=9061268&ps_n=g&ps_d=c&ps_ex=&gcid=C12289X486&utm_source=google&utm_medium=paid-search&utm_sub_medium=prospecting&utm_term=nb&utm_campaign=20499395943%3adefault&utm_content=default&keyword=153156841139_kwd-1994819690067_c&creative=690699587673&utm_kxconfid=s2rshsbmv&kwt=nb&mt=b&kw=madonna+celebration+tour+tickets&gad_source=1&gclid=CjwKCAiArLyuBhA7EiwA-qo80G6SEPjE2xB4ltF_QooQwGLPRXsqvZ_Aod2X8qBjIfF-lFV8EyM9SBoCEcAQAvD_BwE\">resale tickets on sites like StubHub\u003c/a>, but make sure you’re not purchasing fake tickets. \u003ca href=\"https://www.kqed.org/news/11956083/taylor-swift-levis-stadium-eras-santa-clara-tickets#taylorswifttickets\">Read more tips about avoiding ticket resale scams\u003c/a>.\u003c/p>\n\u003ch2>Are there Madonna-themed after-parties?\u003c/h2>\n\u003cp>For those attending the Wednesday show, Castro nightclub \u003ca href=\"https://www.eventbrite.com/e/pan-dulce-madonna-tribute-concert-hump-day-after-party-beaux-sf-tickets-828207279267\">Beaux SF is turning their weekly Wednesday event, Pan Dulce, into an after-party\u003c/a>.\u003c/p>\n\u003cp>If you want to keep the Madonna energy going through the weekend, Cat Club is hosting a \u003ca href=\"https://www.eventbrite.com/e/madonnapocalypse-bootie-mashup-tickets-821046741907\">Madonnapocalypse\u003c/a> event on Saturday, March 2, with drag and burlesque tributes to the musician and project her iconic music videos all night.\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11976698/madonna-chase-center-san-francisco-parking-bag-policy",
"authors": [
"11883"
],
"categories": [
"news_8"
],
"tags": [
"news_19133",
"news_32707",
"news_26589",
"news_3772",
"news_30924",
"news_27626",
"news_1425"
],
"featImg": "news_11976721",
"label": "news"
},
"news_11975375": {
"type": "posts",
"id": "news_11975375",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11975375",
"score": null,
"sort": [
1707699655000
]
},
"guestAuthors": [],
"slug": "adventure-playground-hands-on-me-to-heal",
"title": "Adventure Playground: 'Hands on Me to Heal'",
"publishDate": 1707699655,
"format": "audio",
"headTitle": "Adventure Playground: ‘Hands on Me to Heal’ | KQED",
"labelTerm": {},
"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Isaac Butler Brown and Noah Pawl Silverman St. John are childhood friends. Over family dinners and long conversations, Brown says they formed a friendship that give him an “original sense of what friendship as therapy should look like.”\u003c/p>\n\u003cp>They also feel safe taking risks together — so they started a band. Brown and his friend Griffin Camm were at a wedding when they saw their friend and drummer John Spencer playing with his punk band, having returned to the Bay Area from New York.\u003c/p>\n\u003cp>“He’s killer at drums and I thought we should just make a pop punk band,” said Brown. “Noah and I had been freestyling and doing a lot of, you know, one off musical things and many, many shared moments of musical creativity … and this just immediately mades sense.”\u003c/p>\n\u003cp>A couple of months later, they brought in their friend Ben Klausner on second guitar, and the pop punk band Adventure Playground was born. The sound is what St. John describes as a “duality of punchiness and loudness on one side, and on the other side … shiny and sweet.” Brown adds that their music has “huge amounts of power and sweatiness. It smells kind of funky, but also it’s like, you take a little taste of it and it’s like, ooh, so sweet, you know?’”\u003c/p>\n\u003cp>Their song “Hands on Me to Heal” comes from a tough time in songwriter St. John’s life. It was a time when, living in his childhood room — which he described as “the most chaotic possible depression room in the entire world” — he would drink coffee, play guitar and write in his journal.\u003c/p>\n\u003cp>“It was one of those mornings this … burst of lyrics came out. I was really inspired by the Modern Lovers and Jonathan Richman’s vocal performance, which is sort of not exactly what the song ended up being in reference to … but, that’s what it originally was heavily inspired by.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>St. John says the song is about a time when he was away at college and had a mental health crisis. He had to leave campus and return home. It was an abruptly separated him from the people he loved there.\u003c/p>\n\u003cp>“The simplest thing I’m articulating is ‘I miss you,’” says St. John. “So the song is just really about [me] calling to tell you that I still absolutely love you for real, for real, and when you get back into town, if you could perhaps maybe put your ‘hands on me to heal’.”\u003c/p>\n\u003cp>“We’ve got plenty of love songs for you romantics out there,” adds Brown. “Just not this one.”\u003c/p>\n\u003cp>The Bay Area has been a big part of shaping the sound and style of the band. St. John cites as inspirations venues, organizations and people like \u003ca href=\"https://youthspeaks.org/\">Youth Speaks\u003c/a>, \u003ca href=\"https://calshakes.org/\">Cal Shakes\u003c/a>, and “various teachers at Berkeley High, or King Middle School, or Malcolm X Elementary School.”\u003c/p>\n\u003cp>“We’re in a place that I think celebrates art more than some places do,” says St. John.\u003c/p>\n\u003cp>“I had never been in a band before,” says St. John, who says wasn’t looking for any “formalized artistic thing” but needed an outlet. “So I was really thrilled because everybody wants to be in a band before they die.”\u003c/p>\n\u003cp>St. John and Brown say their creative process involves a lot of freestyling and improvisation, and that often songs come from sessions where they all jam together until a song begins to take shape. And the result?\u003c/p>\n\u003cp>“Like just a sense of embodied catharsis,” says Brown. Of the audience, he says: “I want them to feel it washing over them. Like they should feel cleansed by the end of the song. And sweaty. You could go to Archimedes Banya for 60 whatever dollars for three hours, or you could just put this song on. Your choice.”\u003c/p>\n\u003cp>Oakland-based Adventure Playground are singer Noah Pawl Silverman St. John, producer and guitar player Issac Butler Brown, drummer John Spencer, bass guitarist Griffin Camm, and guitarist Ben Klausner.\u003c/p>\n\u003cp>Adventure Playground will be \u003ca href=\"https://wl.seetickets.us/event/adventure-playground-planetmercury-furious-tits/580945?afflky=HotelUtahSaloon\">performing at the Hotel Utah Saloon\u003c/a> in San Francisco on February 23.\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "In this episode of the Sunday Music Drop, Oakland pop punk band Adventure Playground want you to feel cleansed with catharsis and sweat with their song 'Hands on Me to Heal.' ",
"status": "publish",
"parent": 0,
"modified": 1727137044,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 786
},
"headData": {
"title": "Adventure Playground: 'Hands on Me to Heal' | KQED",
"description": "In this episode of the Sunday Music Drop, Oakland pop punk band Adventure Playground want you to feel cleansed with catharsis and sweat with their song 'Hands on Me to Heal.' ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Adventure Playground: 'Hands on Me to Heal'",
"datePublished": "2024-02-11T17:00:55-08:00",
"dateModified": "2024-09-23T17:17:24-07:00",
"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": "Sunday Music Drop",
"sourceUrl": "https://www.kqed.org/sundaymusicdrop",
"audioUrl": "https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/SMD_Adventure-Playground_240211.1.mp3",
"sticky": false,
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/news/11975375/adventure-playground-hands-on-me-to-heal",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Isaac Butler Brown and Noah Pawl Silverman St. John are childhood friends. Over family dinners and long conversations, Brown says they formed a friendship that give him an “original sense of what friendship as therapy should look like.”\u003c/p>\n\u003cp>They also feel safe taking risks together — so they started a band. Brown and his friend Griffin Camm were at a wedding when they saw their friend and drummer John Spencer playing with his punk band, having returned to the Bay Area from New York.\u003c/p>\n\u003cp>“He’s killer at drums and I thought we should just make a pop punk band,” said Brown. “Noah and I had been freestyling and doing a lot of, you know, one off musical things and many, many shared moments of musical creativity … and this just immediately mades sense.”\u003c/p>\n\u003cp>A couple of months later, they brought in their friend Ben Klausner on second guitar, and the pop punk band Adventure Playground was born. The sound is what St. John describes as a “duality of punchiness and loudness on one side, and on the other side … shiny and sweet.” Brown adds that their music has “huge amounts of power and sweatiness. It smells kind of funky, but also it’s like, you take a little taste of it and it’s like, ooh, so sweet, you know?’”\u003c/p>\n\u003cp>Their song “Hands on Me to Heal” comes from a tough time in songwriter St. John’s life. It was a time when, living in his childhood room — which he described as “the most chaotic possible depression room in the entire world” — he would drink coffee, play guitar and write in his journal.\u003c/p>\n\u003cp>“It was one of those mornings this … burst of lyrics came out. I was really inspired by the Modern Lovers and Jonathan Richman’s vocal performance, which is sort of not exactly what the song ended up being in reference to … but, that’s what it originally was heavily inspired by.”\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>St. John says the song is about a time when he was away at college and had a mental health crisis. He had to leave campus and return home. It was an abruptly separated him from the people he loved there.\u003c/p>\n\u003cp>“The simplest thing I’m articulating is ‘I miss you,’” says St. John. “So the song is just really about [me] calling to tell you that I still absolutely love you for real, for real, and when you get back into town, if you could perhaps maybe put your ‘hands on me to heal’.”\u003c/p>\n\u003cp>“We’ve got plenty of love songs for you romantics out there,” adds Brown. “Just not this one.”\u003c/p>\n\u003cp>The Bay Area has been a big part of shaping the sound and style of the band. St. John cites as inspirations venues, organizations and people like \u003ca href=\"https://youthspeaks.org/\">Youth Speaks\u003c/a>, \u003ca href=\"https://calshakes.org/\">Cal Shakes\u003c/a>, and “various teachers at Berkeley High, or King Middle School, or Malcolm X Elementary School.”\u003c/p>\n\u003cp>“We’re in a place that I think celebrates art more than some places do,” says St. John.\u003c/p>\n\u003cp>“I had never been in a band before,” says St. John, who says wasn’t looking for any “formalized artistic thing” but needed an outlet. “So I was really thrilled because everybody wants to be in a band before they die.”\u003c/p>\n\u003cp>St. John and Brown say their creative process involves a lot of freestyling and improvisation, and that often songs come from sessions where they all jam together until a song begins to take shape. And the result?\u003c/p>\n\u003cp>“Like just a sense of embodied catharsis,” says Brown. Of the audience, he says: “I want them to feel it washing over them. Like they should feel cleansed by the end of the song. And sweaty. You could go to Archimedes Banya for 60 whatever dollars for three hours, or you could just put this song on. Your choice.”\u003c/p>\n\u003cp>Oakland-based Adventure Playground are singer Noah Pawl Silverman St. John, producer and guitar player Issac Butler Brown, drummer John Spencer, bass guitarist Griffin Camm, and guitarist Ben Klausner.\u003c/p>\n\u003cp>Adventure Playground will be \u003ca href=\"https://wl.seetickets.us/event/adventure-playground-planetmercury-furious-tits/580945?afflky=HotelUtahSaloon\">performing at the Hotel Utah Saloon\u003c/a> in San Francisco on February 23.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11975375/adventure-playground-hands-on-me-to-heal",
"authors": [
"11772",
"11812"
],
"programs": [
"news_34370"
],
"categories": [
"news_223",
"news_8",
"news_33520"
],
"tags": [
"news_32662",
"news_1425",
"news_31662"
],
"featImg": "news_11975386",
"label": "source_news_11975375"
},
"news_11974827": {
"type": "posts",
"id": "news_11974827",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11974827",
"score": null,
"sort": [
1707492648000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 26731
},
"blocks": [],
"publishDate": 1707492648,
"format": "standard",
"title": "This Stretch of the Mojave Desert Plays the 'Lone Ranger' Theme",
"headTitle": "This Stretch of the Mojave Desert Plays the ‘Lone Ranger’ Theme | KQED",
"content": "\u003cp>There isn’t a lot in Antelope Valley, to the west of Lancaster, California. This patch of the western Mojave Desert, about an hour north of Los Angeles, is desolate. There’s practically nothing for miles except for a few clusters of RVs and a tiny airfield with an old-school diner in the lobby. But it does have one attraction that draws in-the-know travelers — the Musical Road of Lancaster.\u003c/p>\n\u003cp>Locals are bemused by the quirky attraction but also a little proud.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"David Simmons-Duffin, physicist\"]‘I remember I was in my parents’ kitchen, and the commercial came on the TV. I was intrigued because I’d had some experience with these rumble strips on the road before.’[/pullquote]“I think it’s kind of cool to have this whimsical thing out there,” said Colin Delaney, a librarian at Lancaster Library. “It’s just a fun little thing.”\u003c/p>\n\u003cp>“[My family] would make up spooky stories like if you went backwards on it, something would happen,” said a woman named Marlene, who works at Lancaster’s Museum of Art and History. “One time when my brother started driving, he did go backwards on it. It sounded a little odd, I’m not going to lie. It sounded a little scary.”\u003c/p>\n\u003cp>Grooves have been cut in a quarter-mile stretch of highway next to some abandoned warehouses so that when cars drive over it, a tune rings out. It’s supposed to be the “William Tell Overture” by the Italian composer Gioachino Rossini, probably best known as the theme to The Lone Ranger. Drivers have to go 55 mph to hear the song, which is recognizable, although the notes sound flat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sandra is a waitress at Foxy’s Landing & Restaurant, that old-school diner.\u003c/p>\n\u003cp>“Back in 2011, when I moved out here with my friends, they took me on that road,” she said. “We went over it, and it was pretty cool.” Then she added, “I feel like we could have a little better tone.”\u003c/p>\n\u003cp>This novelty was built by the car company Honda back in 2008 as part of a TV commercial for the Civic.\u003c/p>\n\u003cp>https://youtu.be/sJFGacuxcSM\u003c/p>\n\u003cp>At first, the distinctive sound didn’t go down well with some Lancaster residents. People who lived nearby said it was a scratchy sound, like a high-pitched drone or whining. One person said it was like an orchestra that’s constantly out of tune.\u003c/p>\n\u003cp>Honda originally built the road in a much more populated area on Avenue K in downtown Lancaster. However, \u003ca href=\"http://news.bbc.co.uk/2/hi/americas/7627713.stm\">according to news reports at the time\u003c/a>, the noise complaints were so bad that the city spent $35,000 to remove and relocate the road to its current location outside of town.\u003c/p>\n\u003ch2>How does it work?\u003c/h2>\n\u003cp>Physicist David Simmons-Duffin remembers hearing the Honda commercial for the first time. He was in graduate school, home for the holidays, visiting his parents.\u003c/p>\n\u003cp>“I remember I was in my parents’ kitchen, and the commercial came on the TV,” he said. “I was intrigued because I’d had some experience with these rumble strips on the road before.”\u003c/p>\n\u003cp>The concept reminded Simmons-Duffin of a childhood memory.\u003c/p>\n\u003cp>“When I was a kid, we used to drive to a park in Canada. On the roads, they would have these rumble strips before the stop signs, and my dad would experiment with trying to play music by going different speeds over the rumble strips. We would talk about how fast we needed to go to make different kinds of musical scales. It didn’t come out right a lot of the time, but sometimes he got the timing just right, and then we would all cheer in the car.”\u003c/p>\n\u003cp>Years later, sitting in his parents’ kitchen watching Honda try to replicate the effect in their commercial, Simmons-Duffin was disappointed.\u003c/p>\n\u003cp>“It sounded so terrible,” he said.\u003c/p>\n\u003cp>Simmons-Duffin, who is now a professor at Caltech, decided to use his computer to make a simulation of the road.\u003c/p>\n\u003cp>“I was able to reproduce the terrible music from the commercial,” he said. “It was a neat challenge, using my own ears and a little bit of mathematics to do the detective work and figure out what had happened.”\u003c/p>\n\u003cp>The musical road works on a basic principle: as a car drives over grooves cut into the asphalt, it vibrates.\u003c/p>\n\u003cp>“There’s a very simple formula for the frequency that you get from the note when a car drives over a rumble strip,” Simmons-Duffin said. “It’s basically the velocity of the car divided by the distance between the grooves.”\u003c/p>\n\u003cp>So, in order to make a melody, the grooves in the road need to be precise distances apart.\u003c/p>\n\u003cp>“If you listen to the notes in the musical road, you can kind of tell that none of the grooves are close enough together to make the right melody,” he said.\u003c/p>\n\u003cp>He speculates that the workers who cut the grooves didn’t factor in the width of the grooves themselves. Neither Honda nor the city of Lancaster responded to requests for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even though it’s not the perfect rendition of the “William Tell Overture,” it’s still a fun reason to visit Lancaster. After all, it’s not every day that the road you’re driving on plays music for you.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 956,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 26
},
"modified": 1707354861,
"excerpt": "In a desolate part of the Mojave Desert is a stretch of road that will play the theme to the 'Lone Ranger' when you drive over it.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In a desolate part of the Mojave Desert is a stretch of road that will play the theme to the 'Lone Ranger' when you drive over it.",
"title": "This Stretch of the Mojave Desert Plays the 'Lone Ranger' Theme | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "This Stretch of the Mojave Desert Plays the 'Lone Ranger' Theme",
"datePublished": "2024-02-09T07:30:48-08:00",
"dateModified": "2024-02-07T17:14:21-08:00",
"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": "this-stretch-of-the-mojave-desert-plays-the-lone-ranger-theme",
"status": "publish",
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/e7ed870d-8266-4aa8-b772-b10e017a79f0/audio.mp3",
"nprByline": "Clare Wiley",
"excludeFromSiteSearch": "Include",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/news/11974827/this-stretch-of-the-mojave-desert-plays-the-lone-ranger-theme",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There isn’t a lot in Antelope Valley, to the west of Lancaster, California. This patch of the western Mojave Desert, about an hour north of Los Angeles, is desolate. There’s practically nothing for miles except for a few clusters of RVs and a tiny airfield with an old-school diner in the lobby. But it does have one attraction that draws in-the-know travelers — the Musical Road of Lancaster.\u003c/p>\n\u003cp>Locals are bemused by the quirky attraction but also a little proud.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "‘I remember I was in my parents’ kitchen, and the commercial came on the TV. I was intrigued because I’d had some experience with these rumble strips on the road before.’",
"name": "pullquote",
"attributes": {
"named": {
"size": "medium",
"align": "right",
"citation": "David Simmons-Duffin, physicist",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I think it’s kind of cool to have this whimsical thing out there,” said Colin Delaney, a librarian at Lancaster Library. “It’s just a fun little thing.”\u003c/p>\n\u003cp>“[My family] would make up spooky stories like if you went backwards on it, something would happen,” said a woman named Marlene, who works at Lancaster’s Museum of Art and History. “One time when my brother started driving, he did go backwards on it. It sounded a little odd, I’m not going to lie. It sounded a little scary.”\u003c/p>\n\u003cp>Grooves have been cut in a quarter-mile stretch of highway next to some abandoned warehouses so that when cars drive over it, a tune rings out. It’s supposed to be the “William Tell Overture” by the Italian composer Gioachino Rossini, probably best known as the theme to The Lone Ranger. Drivers have to go 55 mph to hear the song, which is recognizable, although the notes sound flat.\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>Sandra is a waitress at Foxy’s Landing & Restaurant, that old-school diner.\u003c/p>\n\u003cp>“Back in 2011, when I moved out here with my friends, they took me on that road,” she said. “We went over it, and it was pretty cool.” Then she added, “I feel like we could have a little better tone.”\u003c/p>\n\u003cp>This novelty was built by the car company Honda back in 2008 as part of a TV commercial for the Civic.\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/sJFGacuxcSM'\n title='//www.youtube.com/embed/sJFGacuxcSM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At first, the distinctive sound didn’t go down well with some Lancaster residents. People who lived nearby said it was a scratchy sound, like a high-pitched drone or whining. One person said it was like an orchestra that’s constantly out of tune.\u003c/p>\n\u003cp>Honda originally built the road in a much more populated area on Avenue K in downtown Lancaster. However, \u003ca href=\"http://news.bbc.co.uk/2/hi/americas/7627713.stm\">according to news reports at the time\u003c/a>, the noise complaints were so bad that the city spent $35,000 to remove and relocate the road to its current location outside of town.\u003c/p>\n\u003ch2>How does it work?\u003c/h2>\n\u003cp>Physicist David Simmons-Duffin remembers hearing the Honda commercial for the first time. He was in graduate school, home for the holidays, visiting his parents.\u003c/p>\n\u003cp>“I remember I was in my parents’ kitchen, and the commercial came on the TV,” he said. “I was intrigued because I’d had some experience with these rumble strips on the road before.”\u003c/p>\n\u003cp>The concept reminded Simmons-Duffin of a childhood memory.\u003c/p>\n\u003cp>“When I was a kid, we used to drive to a park in Canada. On the roads, they would have these rumble strips before the stop signs, and my dad would experiment with trying to play music by going different speeds over the rumble strips. We would talk about how fast we needed to go to make different kinds of musical scales. It didn’t come out right a lot of the time, but sometimes he got the timing just right, and then we would all cheer in the car.”\u003c/p>\n\u003cp>Years later, sitting in his parents’ kitchen watching Honda try to replicate the effect in their commercial, Simmons-Duffin was disappointed.\u003c/p>\n\u003cp>“It sounded so terrible,” he said.\u003c/p>\n\u003cp>Simmons-Duffin, who is now a professor at Caltech, decided to use his computer to make a simulation of the road.\u003c/p>\n\u003cp>“I was able to reproduce the terrible music from the commercial,” he said. “It was a neat challenge, using my own ears and a little bit of mathematics to do the detective work and figure out what had happened.”\u003c/p>\n\u003cp>The musical road works on a basic principle: as a car drives over grooves cut into the asphalt, it vibrates.\u003c/p>\n\u003cp>“There’s a very simple formula for the frequency that you get from the note when a car drives over a rumble strip,” Simmons-Duffin said. “It’s basically the velocity of the car divided by the distance between the grooves.”\u003c/p>\n\u003cp>So, in order to make a melody, the grooves in the road need to be precise distances apart.\u003c/p>\n\u003cp>“If you listen to the notes in the musical road, you can kind of tell that none of the grooves are close enough together to make the right melody,” he said.\u003c/p>\n\u003cp>He speculates that the workers who cut the grooves didn’t factor in the width of the grooves themselves. Neither Honda nor the city of Lancaster responded to requests for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even though it’s not the perfect rendition of the “William Tell Overture,” it’s still a fun reason to visit Lancaster. After all, it’s not every day that the road you’re driving on plays music for you.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11974827/this-stretch-of-the-mojave-desert-plays-the-lone-ranger-theme",
"authors": [
"byline_news_11974827"
],
"programs": [
"news_72",
"news_26731"
],
"series": [
"news_29825"
],
"categories": [
"news_8"
],
"tags": [
"news_1202",
"news_27626",
"news_19623",
"news_20732",
"news_1425"
],
"featImg": "news_11974849",
"label": "news_26731"
},
"news_11974003": {
"type": "posts",
"id": "news_11974003",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11974003",
"score": null,
"sort": [
1706488213000
]
},
"guestAuthors": [],
"slug": "inspector-gadje-gangam",
"title": "Inspector Gadje: 'Gangam'",
"publishDate": 1706488213,
"format": "standard",
"headTitle": "Inspector Gadje: ‘Gangam’ | KQED",
"labelTerm": {
"term": 34370,
"site": "news"
},
"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">We’re all losing probably collectively gallons of sweat on stage — I mean, everybody’s shirt is soaked wet at the end of the show.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s how Marco Peris Coppola, the Italian-born San Franciscan percussionist and creative strategist of Balkan brass band Inspector Gadje describes one of their stage performances. \u003c/span>\u003c/p>\n\u003cp>With 14 band members, Inspector Gadje is a frenzied force of nature that Coppola describes as participatory and celebratory, inspired by Balkan weddings and funerals. But it’s also a very demanding style of music. He says it’s not just the kind of music that makes you jump up and dance, it’s like a “therapy session,” and a way of “liberating emotions.”\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">This is not just for my band … anytime you go and listen to this style of music, I see people walking in with a certain face, and I see them walking out with a smile,” he says.\u003c/span>\u003c/p>\n\u003cp>Their song “Gangam” is no exception.\u003c/p>\n\u003cp>“It’s … a very high energy, hard-to-sit-still-through kind of music,” says Coppola. “It’s embedded in the Hijaz scale [that] is used not only in the Balkans, but also in Turkey and some parts of Middle East. But really, it’s embedded in solos as well. Sometimes it feels like the song is an excuse to get to the solo where the improvisation happens and where people get a chance to show themselves.”\u003c/p>\n\u003cp>Growing up in Italy, Coppola played drums with a protest band. When he moved to San Francisco he joined the \u003cspan style=\"font-weight: 400\">Brass Liberation Orchestra, a band that plays at progressive demonstrations around the Bay Area. An association called Voice of Roma, a cultural nonprofit that promotes Roma music and works to dismantle stereotypes about Roma people, invited him and the other band members to do a six-month course with a master teacher of Roma music. That’s where Coppola learned to play a Balkan drum called the “tapan,” or “davul.” \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">After I got like an initial grip on the style, I was hooked — it was like a drug,” Coppola explains. He and four other students from the course founded Inspector Gadje.\u003c/span>\u003c/p>\n\u003cp>They’ve now been playing Balkan music in the Bay Area for the last 11 years. He says their music has evolved over that time and that while they knew they could never play Balkan music like they do in the Balkans, he says they created their own American, Bay Area style that they have been playing at biannual Balkan parties since 2013.\u003c/p>\n\u003cp>“It kind of became almost like a ritual for this community here in San Francisco and the greater Bay Area to meet twice a year,” he says about their parties. “When I do the programming, I always try to have a different or new element per show so that there’s always a change in the color and the feeling of the evening.”\u003c/p>\n\u003cp>Another huge influence in the band has been Coppola’s fellow band member Ismail Lumanovski, who lives in New York but whom Coppola says they try to fly out to San Francisco at least once a year to perform and play with Inspector Gadje. Lumanovski started out as a prodigy in the Roma community, which, Coppola adds, is no mean feat.\u003c/p>\n\u003cp>“Ismail stood out and somebody saw him and give him a scholarship to come and do a senior high school summer program here,” says Coppola of Lumanovski, whom he says is now known throughout the Balkans and Turkey. “Then Juilliard landed their eyes on him and gave him a full-ride scholarship. … He became the first clarinetist at Juilliard. So now his career is very interesting, because he will play featured solos on various symphonies and orchestras around the world, and then he has his own project called New York Gypsy All-Stars, which is sort of like jazz, for lack of a better word.”\u003c/p>\n\u003cp>Ultimately, the Bay Area has also been a huge influence in the music they make.\u003c/p>\n\u003cp>“Coming to the Bay and seeing how all these different cultural backgrounds interact with each other, I feel like that energy and that combination of people leads us to new spots in the music that maybe have not been tried because we haven’t had this particular mix of personnel in the same room practicing together,” he says. “The level of focus has to be there. But we always try to goof off and have a great time on stage either way. And, yeah, a lot of times I have a hard time falling asleep after.”\u003c/p>\n\u003cp>The band’s members include Danny Cao, Noah Levitt, Will Magid, Shane Cox, Ismail Lumanovski, Morgan Nilsen, Mike Perlmutter, Greg Jenkins, Ofir Uziel, Paul Marini, Joshua Sirotiak, Jeff Giaquinto, Greg Stevens, Greg Michalec, and Andrew Cohen.\u003c/p>\n\u003cp>You can hear Inspector Gadje live, performing at the \u003ca href=\"https://rickshawstop.com/seetickets-event/kafana-balkan-with-ismail-lumanovsky-and-inspector-gadje/\">Kafana Balkan Party at Rickshaw Stop\u003c/a>, 155 Fell St. and Van Ness Avenue in San Francisco, on Feb. 3.\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "In this episode of the Sunday Music Drop, we dive into the mad world of Balkan brass band Inspector Gadje and their song 'Gangam.'",
"status": "publish",
"parent": 0,
"modified": 1727137052,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 922
},
"headData": {
"title": "Inspector Gadje: 'Gangam' | KQED",
"description": "In this episode of the Sunday Music Drop, we dive into the mad world of Balkan brass band Inspector Gadje and their song 'Gangam.'",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Inspector Gadje: 'Gangam'",
"datePublished": "2024-01-28T16:30:13-08:00",
"dateModified": "2024-09-23T17:17:32-07:00",
"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://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/SMD_Inspector-Gadje_240128-V2.mp3",
"sticky": false,
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/news/11974003/inspector-gadje-gangam",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">We’re all losing probably collectively gallons of sweat on stage — I mean, everybody’s shirt is soaked wet at the end of the show.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s how Marco Peris Coppola, the Italian-born San Franciscan percussionist and creative strategist of Balkan brass band Inspector Gadje describes one of their stage performances. \u003c/span>\u003c/p>\n\u003cp>With 14 band members, Inspector Gadje is a frenzied force of nature that Coppola describes as participatory and celebratory, inspired by Balkan weddings and funerals. But it’s also a very demanding style of music. He says it’s not just the kind of music that makes you jump up and dance, it’s like a “therapy session,” and a way of “liberating emotions.”\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">This is not just for my band … anytime you go and listen to this style of music, I see people walking in with a certain face, and I see them walking out with a smile,” he says.\u003c/span>\u003c/p>\n\u003cp>Their song “Gangam” is no exception.\u003c/p>\n\u003cp>“It’s … a very high energy, hard-to-sit-still-through kind of music,” says Coppola. “It’s embedded in the Hijaz scale [that] is used not only in the Balkans, but also in Turkey and some parts of Middle East. But really, it’s embedded in solos as well. Sometimes it feels like the song is an excuse to get to the solo where the improvisation happens and where people get a chance to show themselves.”\u003c/p>\n\u003cp>Growing up in Italy, Coppola played drums with a protest band. When he moved to San Francisco he joined the \u003cspan style=\"font-weight: 400\">Brass Liberation Orchestra, a band that plays at progressive demonstrations around the Bay Area. An association called Voice of Roma, a cultural nonprofit that promotes Roma music and works to dismantle stereotypes about Roma people, invited him and the other band members to do a six-month course with a master teacher of Roma music. That’s where Coppola learned to play a Balkan drum called the “tapan,” or “davul.” \u003c/span>\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>“\u003cspan style=\"font-weight: 400\">After I got like an initial grip on the style, I was hooked — it was like a drug,” Coppola explains. He and four other students from the course founded Inspector Gadje.\u003c/span>\u003c/p>\n\u003cp>They’ve now been playing Balkan music in the Bay Area for the last 11 years. He says their music has evolved over that time and that while they knew they could never play Balkan music like they do in the Balkans, he says they created their own American, Bay Area style that they have been playing at biannual Balkan parties since 2013.\u003c/p>\n\u003cp>“It kind of became almost like a ritual for this community here in San Francisco and the greater Bay Area to meet twice a year,” he says about their parties. “When I do the programming, I always try to have a different or new element per show so that there’s always a change in the color and the feeling of the evening.”\u003c/p>\n\u003cp>Another huge influence in the band has been Coppola’s fellow band member Ismail Lumanovski, who lives in New York but whom Coppola says they try to fly out to San Francisco at least once a year to perform and play with Inspector Gadje. Lumanovski started out as a prodigy in the Roma community, which, Coppola adds, is no mean feat.\u003c/p>\n\u003cp>“Ismail stood out and somebody saw him and give him a scholarship to come and do a senior high school summer program here,” says Coppola of Lumanovski, whom he says is now known throughout the Balkans and Turkey. “Then Juilliard landed their eyes on him and gave him a full-ride scholarship. … He became the first clarinetist at Juilliard. So now his career is very interesting, because he will play featured solos on various symphonies and orchestras around the world, and then he has his own project called New York Gypsy All-Stars, which is sort of like jazz, for lack of a better word.”\u003c/p>\n\u003cp>Ultimately, the Bay Area has also been a huge influence in the music they make.\u003c/p>\n\u003cp>“Coming to the Bay and seeing how all these different cultural backgrounds interact with each other, I feel like that energy and that combination of people leads us to new spots in the music that maybe have not been tried because we haven’t had this particular mix of personnel in the same room practicing together,” he says. “The level of focus has to be there. But we always try to goof off and have a great time on stage either way. And, yeah, a lot of times I have a hard time falling asleep after.”\u003c/p>\n\u003cp>The band’s members include Danny Cao, Noah Levitt, Will Magid, Shane Cox, Ismail Lumanovski, Morgan Nilsen, Mike Perlmutter, Greg Jenkins, Ofir Uziel, Paul Marini, Joshua Sirotiak, Jeff Giaquinto, Greg Stevens, Greg Michalec, and Andrew Cohen.\u003c/p>\n\u003cp>You can hear Inspector Gadje live, performing at the \u003ca href=\"https://rickshawstop.com/seetickets-event/kafana-balkan-with-ismail-lumanovsky-and-inspector-gadje/\">Kafana Balkan Party at Rickshaw Stop\u003c/a>, 155 Fell St. and Van Ness Avenue in San Francisco, on Feb. 3.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11974003/inspector-gadje-gangam",
"authors": [
"11772",
"11812"
],
"programs": [
"news_34370"
],
"categories": [
"news_223",
"news_8",
"news_33520"
],
"tags": [
"news_27626",
"news_1425",
"news_31662"
],
"featImg": "news_11974140",
"label": "news_34370"
},
"news_11968911": {
"type": "posts",
"id": "news_11968911",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11968911",
"score": null,
"sort": [
1701653400000
]
},
"guestAuthors": [],
"slug": "fauxes-peaches",
"title": "Fauxes: 'Peaches'",
"publishDate": 1701653400,
"format": "standard",
"headTitle": "Fauxes: ‘Peaches’ | KQED",
"labelTerm": {},
"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Scarlett Levinson and Fauxes bandmates Nick Bielak, Daniel Loor, and Dan March have been playing music together since 2019. The friends met at UC Berkeley in the co-op housing, and sang in choir together.\u003c/p>\n\u003cp>After that, Levinson said, they “went on this kind of garage rock, shoegazy, psychedelic path,” inspired by the San Francisco and Bay Area underground music scene.\u003c/p>\n\u003cp>As for their song “Peaches,” she said, that was inspired by … a crush.\u003c/p>\n\u003cp>“I wrote it because I was annoyed at somebody who I thought was mean to me, who I had a crush on,” said Levinson.\u003c/p>\n\u003cp>The original instrumentation, Levinson explained, was surfy and grungy until, in rehearsal, they experimented with “shoegaze tones” looping in parts that gave it a more ethereal sound that also shows sassiness.\u003c/p>\n\u003cp>“It’s kind of got like a bite to it — it’s masochistic,” said Levinson, who added that Fauxes aims to be big and flamboyant. “It really shows the evolution of our sound as a band. … A big goal of ours is creating sounds that are big and kind of overtake whatever you’re doing. Really incredible art … like, commands attention.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Levinson was a student at Ruth Asawa San Francisco School of the Arts (SOTA), where she said she didn’t enjoy the “rigidity of classical music.” But it was the Berkeley DIY scene, she said, that changed everything.\u003c/p>\n\u003cp>“There were some really cool bands doing some crazy experimental stuff … and I thought that that was so liberating, so cool. That gave me the courage to kind of be involved in the music scene in general,” she explained. “Go to a DIY show. You will see some of the best music you’ve ever seen and meet some really cool people. It’s a very inspirational community of musicians.”\u003c/p>\n\u003cp>Fauxes’ Nick Bielak said a big part of his musical journey was inspired by the city he grew up in — a city that he says is now very hard to live in and that artists are being priced out of.\u003c/p>\n\u003cp>“Whenever you hear about all these great San Francisco bands, when you hear about Jefferson Airplane, you hear about The Grateful Dead, you hear about Brian Jonestown Massacre, Ty Segall … it’s really cool to know that a lot of these artists that I idolize or listen to … were here, and I knew that I wanted to contribute to that scene as well,” said Bielak.\u003c/p>\n\u003cp>“Peaches” also features Jakob Karstens on the keys. Fauxes will be performing at The Rickshaw Stop in San Francisco on Wednesday, Dec. 20 at 8 p.m. Follow Fauxes on instagram @fauxesband and listen to their music on \u003ca href=\"https://fauxes.bandcamp.com/\">Bandcamp\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "In this episode of the Sunday Music Drop, Scarlett Levinson of the band Fauxes says they aim to create big sounds that 'overtake whatever you're doing.' Their song, 'Peaches,' is no exception.",
"status": "publish",
"parent": 0,
"modified": 1727137070,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 522
},
"headData": {
"title": "Fauxes: 'Peaches' | KQED",
"description": "In this episode of the Sunday Music Drop, Scarlett Levinson of the band Fauxes says they aim to create big sounds that 'overtake whatever you're doing.' Their song, 'Peaches,' is no exception.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Fauxes: 'Peaches'",
"datePublished": "2023-12-03T17:30:00-08:00",
"dateModified": "2024-09-23T17:17:50-07:00",
"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"
]
}
}
},
"source": "sunday music drop",
"sourceUrl": "https://www.kqed.org/sundaymusicdrop",
"audioUrl": "https://ww2.kqed.org/app/uploads/sites/10/2023/12/SMD_Faux_231203.mp3",
"sticky": false,
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/news/11968911/fauxes-peaches",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Scarlett Levinson and Fauxes bandmates Nick Bielak, Daniel Loor, and Dan March have been playing music together since 2019. The friends met at UC Berkeley in the co-op housing, and sang in choir together.\u003c/p>\n\u003cp>After that, Levinson said, they “went on this kind of garage rock, shoegazy, psychedelic path,” inspired by the San Francisco and Bay Area underground music scene.\u003c/p>\n\u003cp>As for their song “Peaches,” she said, that was inspired by … a crush.\u003c/p>\n\u003cp>“I wrote it because I was annoyed at somebody who I thought was mean to me, who I had a crush on,” said Levinson.\u003c/p>\n\u003cp>The original instrumentation, Levinson explained, was surfy and grungy until, in rehearsal, they experimented with “shoegaze tones” looping in parts that gave it a more ethereal sound that also shows sassiness.\u003c/p>\n\u003cp>“It’s kind of got like a bite to it — it’s masochistic,” said Levinson, who added that Fauxes aims to be big and flamboyant. “It really shows the evolution of our sound as a band. … A big goal of ours is creating sounds that are big and kind of overtake whatever you’re doing. Really incredible art … like, commands attention.”\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>Levinson was a student at Ruth Asawa San Francisco School of the Arts (SOTA), where she said she didn’t enjoy the “rigidity of classical music.” But it was the Berkeley DIY scene, she said, that changed everything.\u003c/p>\n\u003cp>“There were some really cool bands doing some crazy experimental stuff … and I thought that that was so liberating, so cool. That gave me the courage to kind of be involved in the music scene in general,” she explained. “Go to a DIY show. You will see some of the best music you’ve ever seen and meet some really cool people. It’s a very inspirational community of musicians.”\u003c/p>\n\u003cp>Fauxes’ Nick Bielak said a big part of his musical journey was inspired by the city he grew up in — a city that he says is now very hard to live in and that artists are being priced out of.\u003c/p>\n\u003cp>“Whenever you hear about all these great San Francisco bands, when you hear about Jefferson Airplane, you hear about The Grateful Dead, you hear about Brian Jonestown Massacre, Ty Segall … it’s really cool to know that a lot of these artists that I idolize or listen to … were here, and I knew that I wanted to contribute to that scene as well,” said Bielak.\u003c/p>\n\u003cp>“Peaches” also features Jakob Karstens on the keys. Fauxes will be performing at The Rickshaw Stop in San Francisco on Wednesday, Dec. 20 at 8 p.m. Follow Fauxes on instagram @fauxesband and listen to their music on \u003ca href=\"https://fauxes.bandcamp.com/\">Bandcamp\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11968911/fauxes-peaches",
"authors": [
"11503",
"11812"
],
"programs": [
"news_34370"
],
"categories": [
"news_223",
"news_8",
"news_33520"
],
"tags": [
"news_20257",
"news_32662",
"news_22973",
"news_333",
"news_1425",
"news_31662"
],
"featImg": "news_11968925",
"label": "source_news_11968911"
},
"news_11967943": {
"type": "posts",
"id": "news_11967943",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11967943",
"score": null,
"sort": [
1700769659000
]
},
"guestAuthors": [],
"slug": "how-one-la-teacher-uses-jazz-to-explore-california-history-race-and-culture",
"title": "How One LA Teacher Uses Jazz to Explore California History, Race and Culture",
"publishDate": 1700769659,
"format": "standard",
"headTitle": "How One LA Teacher Uses Jazz to Explore California History, Race and Culture | KQED",
"labelTerm": {
"site": "news"
},
"content": "\u003cp>The first thing Guillermo Tejeda does when he visits a new school is hunt for the piano. At most schools, the teacher finds a dusty old instrument, out of tune, stashed away in a dark closet.\u003c/p>\n\u003cp>The cobwebs tell him all he needs to know about how little arts education those students have been getting. His go-to technique to get them more jazzed about learning is to tickle the ivories, make that piano come back to life. [pullquote size=\"medium\" align=\"right\" citation=\"Guillermo Tejeda, teacher, Wadsworth Elementary in South Central Los Angeles\"]‘I’m telling you, when I bring in song, when I bring music and performance into the classroom, the students light up in a way that really creates a meaningful experience for them.’[/pullquote]“I’ll bring it out, dust it off. I’ll bring students into the auditorium and I’ll do lessons there,” said Tejeda, a fourth-grade teacher at Wadsworth Elementary in hardscrabble South Central Los Angeles. “I’m telling you, when I bring in song, when I bring music and performance into the classroom, the students light up in a way that really creates a meaningful experience for them.”\u003c/p>\n\u003cp>A schoolteacher who is also a jazz musician and a member of the \u003ca href=\"https://youtu.be/EU6steOWfmU?si=FTzUo5SSz51PmlGr\">Neighborhood Orchestra Collective\u003c/a>, Tejeda uses music in general and the narrative of the LA jazz scene, particularly to teach about history, race and culture, and to spark joy in the classroom. A father of three currently on parental leave with his 11-month-old daughter Maya, Tejeda started playing the guitar at the age of 6. His grandfather, a migrant farm worker with a love of mariachi and a hand gnarled from picking in the fields, taught him how to play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m from East LA, and I became a teacher because I wanted to be the teacher that I never had,” he said. “We come from a marginalized community where it’s hard to be a teacher. A lot of the adults are stressed out. People are not feeling joy. How do we bring more joy? How do we bring more meaning into our lives? I think music is that vehicle.”\u003c/p>\n\u003cp>Tejeda takes an expansive view of education that integrates the arts into all the disciplines to bring learning to life for children. He said his teaching feeds his music and his music feeds his teaching. [pullquote size=\"medium\" align=\"right\" citation=\"Guillermo Tejeda, teacher, Wadsworth Elementary in South Central Los Angeles\"]‘I’m from East LA, and I became a teacher because I wanted to be the teacher that I never had.’[/pullquote]“I wish I had a teacher like Guillermo when I was in fourth grade,” said Elmo Lovano, the founder of Jammcard: The Music Professionals Network, who developed \u003ca href=\"https://schoolgig.us/\">School Gig\u003c/a>, an app that connects artists to schools. “He’s a passionate guy. He’s incredibly talented. It’s important for artists to know you can still be doing your art, but being a teacher could be an amazing opportunity for you to make a living, stay at home, support your family, give back to the kids, the next generation, and also still do you.”\u003c/p>\n\u003cp>Music is the prism through which his students become immersed in the history of their city, its politics and culture. He wants his students to be in tune with their heritage.\u003c/p>\n\u003cp>“I teach on 41st and Central, which is a historic jazz corridor,” he said. “And when I got to that school site, it surprised me that so few teachers talked about that. The first thing I did was write a lesson plan about it.”\u003c/p>\n\u003cp>Tejeda, whose students call him ‘Mister’ as a nickname, makes sure his class learns about the rich legacy of jazz in Los Angeles. For example, the historic Central Avenue jazz corridor was, for decades, a \u003ca href=\"https://www.latimes.com/california/gallery/looking-back-at-historic-central-avenue-in-los-angeles\">cultural mecca\u003c/a>, the heart of the African-American community in the city. At a time when most of the country was rigidly segregated, it was also something of an oasis, a place where people of all races and classes came together over music. There, a pantheon of jazz luminaries, including Charlie Parker, Miles Davis, Duke Ellington, Billie Holiday and Jelly Roll Morton, played to full houses.\u003c/p>\n\u003cp>“The giants of Central Avenue may have gone, but their footprints still remain on all of American culture,” as basketball great \u003ca href=\"https://www.latimes.com/california/story/2020-07-18/central-avenue-los-angeles-jazz\">Kareem Abdul-Jabbar once put it\u003c/a>. “The jazz musicians and record promoters also gave birth to rock ‘n’ roll, rhythm and blues, hip-hop and rap.”\u003c/p>\n\u003cfigure id=\"attachment_11967956\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11967956\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource02.jpeg\" alt=\"A man poses in between two women. Everyone is smiling and having a nice time.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/11/EdSource02.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/11/EdSource02-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/11/EdSource02-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/11/EdSource02-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/11/EdSource02-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/11/EdSource02-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Tejeda and members of the band Steam Down at the Venice Jazz Festival. \u003ccite>(Courtesy of Luis Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Steeping in the often overlooked history of their neighborhood, Tejeda said, can help children sharpen their sense of identity, belonging and pride.\u003c/p>\n\u003cp>“These kids have no idea how special and beautiful their neighborhoods are because all they see on the news is how messed up it is,” said Tejeda, long a champion of culturally relevant pedagogy. “I want them to know this is the place, right here in your hood, this is where a lot of jazz music was born.”\u003c/p>\n\u003cp>Music often resonates with children on a deeper level than other forms of instruction. Tejeda is moved to tears remembering one little boy who had trouble engaging at school because of trauma at home. He only opened up when they began to play the piano together at recess. The piano became his sanctuary.\u003c/p>\n\u003cp>“I’m shook when I come home because a lot of these kids are dealing with very hard stuff and they’re so resilient,” said Tejeda, his voice thick with emotion.\u003c/p>\n\u003cp>“Yes, math and science is important, but the whole child is important, that’s what drives me.”\u003c/p>\n\u003cp>Music also enhances both \u003ca href=\"https://files.eric.ed.gov/fulltext/EJ1163197.pdf\">math\u003c/a> and \u003ca href=\"https://brainvolts.northwestern.edu/reading/\">reading\u003c/a> performance, experts say, perhaps partly because it enhances the \u003ca href=\"https://brainvolts.northwestern.edu/wp-content/uploads/boxtrx/2020-108-4-Kraus-v2.pdf\">neuroplasticity of the brain\u003c/a>. Music amplifies learning across subject areas, experts say.\u003c/p>\n\u003cp>“Music and movement, in addition to the more common modalities of written and verbal instruction, is critical for including all kinds of learners in a well-rounded education,” said Jessica Mele, interim executive director of Create CA, an advocacy group. “It’s particularly beneficial for students whose first language is not English. Using art as a window into culture, race and history can engage students in complex conversations that they might not otherwise engage in.” [aside postID=news_11962024 hero='https://ww2.kqed.org/app/uploads/sites/10/2023/09/20230910_Symphony_25-KQED-1020x680.jpg']Music can also be healing, \u003ca href=\"https://www.health.harvard.edu/blog/healing-through-music-201511058556\">research suggests\u003c/a>. As a boy, Tejeda suffered from a stutter that only subsided when he sang.\u003c/p>\n\u003cp>“I keep it real with the kids because I see myself in them,” he said. “It’s crazy how impactful music has been for me.”\u003c/p>\n\u003cp>It’s also a uniquely social experience that invites children to collaborate with their peers on projects that require and reward focus and discipline, qualities experts say fuel academic success. Children practiced in the arts become accustomed to working collectively toward ambitious long-term goals.\u003c/p>\n\u003cp>Perhaps most importantly for Tejeda, children often find their voice through music and the arts. They can gain a sense of confidence, social-emotional well-being and a passion for lifelong learning.\u003c/p>\n\u003cp>“The end goals of music and education aren’t to memorize curriculums or key terms,” Tejeda said. “It’s really to find out who you are. It’s about self-determination and growing the full human being. I’m so excited to see this synergy of music and education because they are inextricable.” [pullquote size=\"medium\" align=\"right\" citation=\"Guillermo Tejeda, teacher, Wadsworth Elementary in South Central Los Angeles\"]I feel a deep calling to help effect change across California classrooms. I am never going to stop teaching because teaching and education is so essential to my soul.’[/pullquote]Tejeda’s ambition is to make school so stimulating that children want to go there every day because they are deeply engaged in their studies. At a time of chronic absenteeism and plummeting test scores, he has a transformative vision of arts education as reinvigorating the classroom.\u003c/p>\n\u003cp>“I feel a deep calling to help effect change across California classrooms,” he said. “I am never going to stop teaching because teaching and education is so essential to my soul. It is at the core of who I am,” but this “is a critical time for me to put my work into the next gear and figure out how I’m going to apply my passion and expertise to affect tangible change, more urgently, on a wider scale.”\u003c/p>\n\u003cp>Going forward, he hopes to pursue arts education advocacy on a broader level. He is also developing a new arts-driven curriculum to “unleash the symphony of learning” as Proposition 28, \u003ca href=\"https://edsource.org/2023/behind-the-scenes-californias-new-arts-education-plans/694383\">the state’s groundbreaking 2022 arts initiative\u003c/a>, ramps up.\u003c/p>\n\u003cp>“It’s like out of my dreams and into reality,” he said. “We’re going to create a new world for students. This is a revolutionary time.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "A member of the Neighborhood Orchestra Collective in Los Angeles, musician and educator Guillermo Tejeda blends jazz and LA's story to educate his students.",
"status": "publish",
"parent": 0,
"modified": 1721134956,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 25,
"wordCount": 1583
},
"headData": {
"title": "How One LA Teacher Uses Jazz to Explore California History, Race and Culture | KQED",
"description": "A member of the Neighborhood Orchestra Collective in Los Angeles, musician and educator Guillermo Tejeda blends jazz and LA's story to educate his students.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "How One LA Teacher Uses Jazz to Explore California History, Race and Culture",
"datePublished": "2023-11-23T12:00:59-08:00",
"dateModified": "2024-07-16T06:02:36-07:00",
"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,
"nprByline": "\u003ca href=\"https://edsource.org/author/kdsouza\">Karen D'Souza\u003c/a>\u003cbr> EdSource",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/news/11967943/how-one-la-teacher-uses-jazz-to-explore-california-history-race-and-culture",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing Guillermo Tejeda does when he visits a new school is hunt for the piano. At most schools, the teacher finds a dusty old instrument, out of tune, stashed away in a dark closet.\u003c/p>\n\u003cp>The cobwebs tell him all he needs to know about how little arts education those students have been getting. His go-to technique to get them more jazzed about learning is to tickle the ivories, make that piano come back to life. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "‘I’m telling you, when I bring in song, when I bring music and performance into the classroom, the students light up in a way that really creates a meaningful experience for them.’",
"name": "pullquote",
"attributes": {
"named": {
"size": "medium",
"align": "right",
"citation": "Guillermo Tejeda, teacher, Wadsworth Elementary in South Central Los Angeles",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I’ll bring it out, dust it off. I’ll bring students into the auditorium and I’ll do lessons there,” said Tejeda, a fourth-grade teacher at Wadsworth Elementary in hardscrabble South Central Los Angeles. “I’m telling you, when I bring in song, when I bring music and performance into the classroom, the students light up in a way that really creates a meaningful experience for them.”\u003c/p>\n\u003cp>A schoolteacher who is also a jazz musician and a member of the \u003ca href=\"https://youtu.be/EU6steOWfmU?si=FTzUo5SSz51PmlGr\">Neighborhood Orchestra Collective\u003c/a>, Tejeda uses music in general and the narrative of the LA jazz scene, particularly to teach about history, race and culture, and to spark joy in the classroom. A father of three currently on parental leave with his 11-month-old daughter Maya, Tejeda started playing the guitar at the age of 6. His grandfather, a migrant farm worker with a love of mariachi and a hand gnarled from picking in the fields, taught him how to play.\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’m from East LA, and I became a teacher because I wanted to be the teacher that I never had,” he said. “We come from a marginalized community where it’s hard to be a teacher. A lot of the adults are stressed out. People are not feeling joy. How do we bring more joy? How do we bring more meaning into our lives? I think music is that vehicle.”\u003c/p>\n\u003cp>Tejeda takes an expansive view of education that integrates the arts into all the disciplines to bring learning to life for children. He said his teaching feeds his music and his music feeds his teaching. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "‘I’m from East LA, and I became a teacher because I wanted to be the teacher that I never had.’",
"name": "pullquote",
"attributes": {
"named": {
"size": "medium",
"align": "right",
"citation": "Guillermo Tejeda, teacher, Wadsworth Elementary in South Central Los Angeles",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“I wish I had a teacher like Guillermo when I was in fourth grade,” said Elmo Lovano, the founder of Jammcard: The Music Professionals Network, who developed \u003ca href=\"https://schoolgig.us/\">School Gig\u003c/a>, an app that connects artists to schools. “He’s a passionate guy. He’s incredibly talented. It’s important for artists to know you can still be doing your art, but being a teacher could be an amazing opportunity for you to make a living, stay at home, support your family, give back to the kids, the next generation, and also still do you.”\u003c/p>\n\u003cp>Music is the prism through which his students become immersed in the history of their city, its politics and culture. He wants his students to be in tune with their heritage.\u003c/p>\n\u003cp>“I teach on 41st and Central, which is a historic jazz corridor,” he said. “And when I got to that school site, it surprised me that so few teachers talked about that. The first thing I did was write a lesson plan about it.”\u003c/p>\n\u003cp>Tejeda, whose students call him ‘Mister’ as a nickname, makes sure his class learns about the rich legacy of jazz in Los Angeles. For example, the historic Central Avenue jazz corridor was, for decades, a \u003ca href=\"https://www.latimes.com/california/gallery/looking-back-at-historic-central-avenue-in-los-angeles\">cultural mecca\u003c/a>, the heart of the African-American community in the city. At a time when most of the country was rigidly segregated, it was also something of an oasis, a place where people of all races and classes came together over music. There, a pantheon of jazz luminaries, including Charlie Parker, Miles Davis, Duke Ellington, Billie Holiday and Jelly Roll Morton, played to full houses.\u003c/p>\n\u003cp>“The giants of Central Avenue may have gone, but their footprints still remain on all of American culture,” as basketball great \u003ca href=\"https://www.latimes.com/california/story/2020-07-18/central-avenue-los-angeles-jazz\">Kareem Abdul-Jabbar once put it\u003c/a>. “The jazz musicians and record promoters also gave birth to rock ‘n’ roll, rhythm and blues, hip-hop and rap.”\u003c/p>\n\u003cfigure id=\"attachment_11967956\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11967956\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/EdSource02.jpeg\" alt=\"A man poses in between two women. Everyone is smiling and having a nice time.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/11/EdSource02.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/11/EdSource02-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/11/EdSource02-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/11/EdSource02-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/11/EdSource02-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/11/EdSource02-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Tejeda and members of the band Steam Down at the Venice Jazz Festival. \u003ccite>(Courtesy of Luis Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Steeping in the often overlooked history of their neighborhood, Tejeda said, can help children sharpen their sense of identity, belonging and pride.\u003c/p>\n\u003cp>“These kids have no idea how special and beautiful their neighborhoods are because all they see on the news is how messed up it is,” said Tejeda, long a champion of culturally relevant pedagogy. “I want them to know this is the place, right here in your hood, this is where a lot of jazz music was born.”\u003c/p>\n\u003cp>Music often resonates with children on a deeper level than other forms of instruction. Tejeda is moved to tears remembering one little boy who had trouble engaging at school because of trauma at home. He only opened up when they began to play the piano together at recess. The piano became his sanctuary.\u003c/p>\n\u003cp>“I’m shook when I come home because a lot of these kids are dealing with very hard stuff and they’re so resilient,” said Tejeda, his voice thick with emotion.\u003c/p>\n\u003cp>“Yes, math and science is important, but the whole child is important, that’s what drives me.”\u003c/p>\n\u003cp>Music also enhances both \u003ca href=\"https://files.eric.ed.gov/fulltext/EJ1163197.pdf\">math\u003c/a> and \u003ca href=\"https://brainvolts.northwestern.edu/reading/\">reading\u003c/a> performance, experts say, perhaps partly because it enhances the \u003ca href=\"https://brainvolts.northwestern.edu/wp-content/uploads/boxtrx/2020-108-4-Kraus-v2.pdf\">neuroplasticity of the brain\u003c/a>. Music amplifies learning across subject areas, experts say.\u003c/p>\n\u003cp>“Music and movement, in addition to the more common modalities of written and verbal instruction, is critical for including all kinds of learners in a well-rounded education,” said Jessica Mele, interim executive director of Create CA, an advocacy group. “It’s particularly beneficial for students whose first language is not English. Using art as a window into culture, race and history can engage students in complex conversations that they might not otherwise engage in.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11962024",
"hero": "https://ww2.kqed.org/app/uploads/sites/10/2023/09/20230910_Symphony_25-KQED-1020x680.jpg",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Music can also be healing, \u003ca href=\"https://www.health.harvard.edu/blog/healing-through-music-201511058556\">research suggests\u003c/a>. As a boy, Tejeda suffered from a stutter that only subsided when he sang.\u003c/p>\n\u003cp>“I keep it real with the kids because I see myself in them,” he said. “It’s crazy how impactful music has been for me.”\u003c/p>\n\u003cp>It’s also a uniquely social experience that invites children to collaborate with their peers on projects that require and reward focus and discipline, qualities experts say fuel academic success. Children practiced in the arts become accustomed to working collectively toward ambitious long-term goals.\u003c/p>\n\u003cp>Perhaps most importantly for Tejeda, children often find their voice through music and the arts. They can gain a sense of confidence, social-emotional well-being and a passion for lifelong learning.\u003c/p>\n\u003cp>“The end goals of music and education aren’t to memorize curriculums or key terms,” Tejeda said. “It’s really to find out who you are. It’s about self-determination and growing the full human being. I’m so excited to see this synergy of music and education because they are inextricable.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "I feel a deep calling to help effect change across California classrooms. I am never going to stop teaching because teaching and education is so essential to my soul.’",
"name": "pullquote",
"attributes": {
"named": {
"size": "medium",
"align": "right",
"citation": "Guillermo Tejeda, teacher, Wadsworth Elementary in South Central Los Angeles",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Tejeda’s ambition is to make school so stimulating that children want to go there every day because they are deeply engaged in their studies. At a time of chronic absenteeism and plummeting test scores, he has a transformative vision of arts education as reinvigorating the classroom.\u003c/p>\n\u003cp>“I feel a deep calling to help effect change across California classrooms,” he said. “I am never going to stop teaching because teaching and education is so essential to my soul. It is at the core of who I am,” but this “is a critical time for me to put my work into the next gear and figure out how I’m going to apply my passion and expertise to affect tangible change, more urgently, on a wider scale.”\u003c/p>\n\u003cp>Going forward, he hopes to pursue arts education advocacy on a broader level. He is also developing a new arts-driven curriculum to “unleash the symphony of learning” as Proposition 28, \u003ca href=\"https://edsource.org/2023/behind-the-scenes-californias-new-arts-education-plans/694383\">the state’s groundbreaking 2022 arts initiative\u003c/a>, ramps up.\u003c/p>\n\u003cp>“It’s like out of my dreams and into reality,” he said. “We’re going to create a new world for students. This is a revolutionary time.”\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11967943/how-one-la-teacher-uses-jazz-to-explore-california-history-race-and-culture",
"authors": [
"byline_news_11967943"
],
"categories": [
"news_29992",
"news_18540",
"news_8"
],
"tags": [
"news_19133",
"news_20013",
"news_27626",
"news_3771",
"news_4",
"news_1425",
"news_32948"
],
"featImg": "news_11967955",
"label": "news"
},
"news_11967317": {
"type": "posts",
"id": "news_11967317",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11967317",
"score": null,
"sort": [
1700046015000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1700046015,
"format": "audio",
"title": "A Music Class is Helping Farmworkers Heal in Half Moon Bay",
"headTitle": "A Music Class is Helping Farmworkers Heal in Half Moon Bay | KQED",
"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In January, a gunman killed 7 farmworkers at two mushroom farms in Half Moon Bay. Months later, one community group has been trying to use accordion classes as a way to help farmworkers heal from the trauma.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Links:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://kqed.applytojob.com/apply/g81IJAEpax/Intern-The-Bay-Podcast\">Apply to be our intern!\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"card card--enclosed grey\">\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2503620378&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Hey, it’s Ericka. Quick little note. The bay is looking for an intern. This is a 16 hour a week paid opportunity to help us make this show. The internship runs from January through June of 2024. So if you’ve got love for local news, the Bay Area and podcasting. Let’s chat. The deadline to apply is November 17th. We’ll give you a link to the application in our show notes. All right. Here’s the show.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I’m Ericka Cruz Guevarra and welcome to the bay. Local news to keep you rooted. Most Wednesday nights inside of a red barn in Half Moon Bay, you can hear the sound of farm workers learning how to play the accordion together. It’s a way to learn something new and spend time with people, but it’s also a form of therapy. Back in January, a gunman made his way through two farms, just like this one in Half Moon Bay, killing seven farm workers and completely rocking the community. And even though the camera crews are long gone, the pain of what happened here still lives on, which is why one community group has set up this small program to help these farmworkers heal.\u003c/p>\n\u003cp>\u003cstrong>Belinda Hernandez-Arriaga: \u003c/strong>You know, I think that music elevates a soul. It speaks to the soul. It brings in memories of harm, calls to the joy. Sadness, too. But it’s also like a central language, I think, of healing.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Today, we take you inside the program in Half Moon Bay that’s offering healing through music. Stay with us.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>So I went to Cabrillo Farms and Half Moon Bay.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Blanca Torres is a producer and reporter for KQED.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>It’s right off Highway one. I drive down this dirt road and it’s lined by fields on each side, and there’s all this beautiful produce growing out of the ground. I arrived at this barn, you know, it’s just a regular farm. So I went to real farms to observe a music class for farm workers that was sponsored by Atlas, which stands for Uganda Latinos as one year, which means helping Latinos dream. And the idea behind the class was to provide, you know, not just accordion lessons, but also music therapy.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>One by one, the students started coming in for the lesson and they are carrying these big black, bulky backpacks. And inside is their accordions.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>And it was immediately kind of a very convivial atmosphere. Like everyone was excited to see each other. But you could tell people were excited to be there for the music and to see each other and to to have these, you know, this experience together.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>So you went to Half Moon Bay to see about this program. How did it come about and what is the purpose of it?\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>You know, ALAS’ intention with it was to use music as therapy and to help students who normally wouldn’t have access to a music class.\u003c/p>\n\u003cp>\u003cstrong>Belinda Hernandez-Arriaga: \u003c/strong>ALAS was born from the cultural arts. We were born from political mariachi music celebration, Cultura.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>And so Belinda Hernandez-Arriaga is the founder and executive director of Ayudando Latinos A Soñar.\u003c/p>\n\u003cp>\u003cstrong>Belinda Hernandez-Arriaga: \u003c/strong>And we really believe in the power of cultural good to like culture as healing. I’m a clinician, so I do mental health therapy, and we understand that mental health is a big part of our program, along with the cultural arts.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>You know, she has made it very clear that the intention is to to use music, not just as this is a fun pastime.\u003c/p>\n\u003cp>\u003cstrong>Belinda Hernandez-Arriaga: \u003c/strong>The sensory part of it is so important. We know that in order to heal trauma there, they say that one of the best ways of healing trauma is through sensory integration, and they do a lot of sensory work for trauma survivors.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>And after the mass shooting in January, Alaska is really trying to think of ways to address the community trauma and to actually bring a program into the fields directly and to connect their labor, you know, their daily existence with art and culture in a way that would promote healing.\u003c/p>\n\u003cp>\u003cstrong>Belinda Hernandez-Arriaga: \u003c/strong>They’re going out, working the fields, coming home, eating, getting dressed, and then practicing. And so just thinking about how that stimulating them, too, is really impressive. And for us in this work, we see how they’re moving their fingers or having to think in different ways from, you know, stretching out the accordion sound, the music, the scales. It’s a lot that happens.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, tell me a little bit about some of the people in the class.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>So the classes, six students, which they told me was on purpose so that it would be a sizable group, but enough that the instructor could focus on each student. And so some of the students in the class were. The youngest one I talked to is 22 years old. There was someone who was into his sixties.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>I talked to Yesenia, who lives and works at Gabriel Farms and is a mom and was just really excited to learn to play music so that she could just play her accordion during family gatherings.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>Most of the students I talked to had never even picked up an accordion or any instrument. One of those students who had had no musical experience was Pedro Romero Perez, who is a survivor of the mass shooting.\u003c/p>\n\u003cp>\u003cstrong>Pedro Romero Perez: \u003c/strong>*speaking in Spanish*\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>He’s recovering. He’s actually not working right now because of, you know, his healing process. And he did express a lot of appreciation for the program. And, you know, when I asked him, how do you feel about being here, he said he was excited and that it was this calm moment. You know, having these weekly classes was like an opportunity for him to not be at home, to be around other people, to kind of focus on something else besides what happened.\u003c/p>\n\u003cp>\u003cstrong>Pedro Romero Perez: \u003c/strong>*speaking in Spanish*\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>About a week before I visited, ALAS had coordinated a community altar for Delos Martos, and he had put up an altar for his brother who passed away during the shooting.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>This class is a direct result of the shooting that happened in January. I feel like I totally understand, like the role and idea of music being healing, but why the accordion specifically? Why accordion classes?\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>So the accordion is a very integral instrument in Mexican music in a lot of different genres. A lot of the students in the class are from Mexico, and these classes were specifically focusing on like norteno music, which is literally means like music from the north and is a specific genre of Mexican music.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>But you hear accordion music and popular music and just different genres. So the accordion is a very familiar sound. So when Alan was designing this classic specifically, we’re thinking about how to make it feel comforting and make it reminiscent of home. And, you know, for the music to feel like something you would want to listen to or play when you’re just hanging out with your family on a Sunday afternoon or something like that.\u003c/p>\n\u003cp>\u003cstrong>Hernan Hernandez Jr: \u003c/strong>It’s that instrument that’s we can say very much that it’s our own. It’s our it’s our instrument, you know.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>So the instructor is Hernan Hernandez Jr, and his father is one of the members of Lost Egress and Northway, which is a huge Nathaniel band in Mexico. They’ve sold over 36 million records.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I mean, for for folks who aren’t familiar with his family’s background, you described it to me yesterday as being like having the son of Mick Jagger teaching you the accordion.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>I know. The reason I compared him to sort of being a spy on a like a pretty major band, like The Rolling Stones. I mean, I think that’s, you know, that little sticky desert. They’re just so big in Mexico and they’ve been around for so many decades and had so many hits and and they’ve been around for something like 50 years.\u003c/p>\n\u003cp>\u003cstrong>Hernan Hernandez Jr: \u003c/strong>My dad and my uncles are kind of that that tortured that light for it for their people, you know. And so he they kind of always instilled that into us. You know, it doesn’t matter at the end of the day where you come from, we come into this world with nothing and we leave this world with nothing. We’re all born the same way. We all have the same type of blood. And what’s important is that we give back to our people. And so I think.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>They actually did a fundraiser for us after the shooting, and that was one of his introductions to to the organization. And so our last thing came to him and said, you know, will you teach this class? And he had never taught music classes, but he was he jumped at it because he just thought it would be a really great opportunity to give back.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I mean, what does Hernan say about what he’s seen as an instructor? And I guess like the role that he sees music playing for the students that he’s that he’s teaching in Half Moon Bay.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>I think for Hernan you know, he talked about how, you know, just spending time with the students and getting to know them and getting to know their stories and just seeing their progress. Right. And it’s not like they’re all trying to be professional musicians or anything like that, but just to see them grow so much.\u003c/p>\n\u003cp>\u003cstrong>Hernan Hernandez Jr: \u003c/strong>You know, like I said, just anyone who lives here on the farm has two kids and and they’re in there with us learning accordion as well. And they’re listening and they’re watching. And and it’s cool to really just kind of see that, you know, like there’s something that like, like my father showed me pass it down to me, his uncles pass it down to him. And we’re kind of doing the same thing for this next generations, you know, even if they don’t decide to pursue.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>The happiness, the satisfaction that you get from seeing that progress as a student and for him as a as an instructor, you know, he talked about how that was that was really special for him.\u003c/p>\n\u003cp>\u003cstrong>Hernan Hernandez Jr: \u003c/strong>And as Latinos, I think that’s kind of what our community is lacking opportunities. And so that to me is what I see here. You know, this is a great opportunity for them to be able to learn something new, open their minds to something new. And even if it’s not according, that’s going to do it, but or music, but it will guide them into something new and something positive. And at the end of the day, that’s really what we’re trying to do just create a positive environment for you.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>So at one point they wanted to engage in a song and so and non started playing upward. The Nagra, which is a famous song. Everyone was singing along because everyone knows the song.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>And it’s actually a song about a couple where the parents of the young woman in this couple are keeping her from her love. And the leopard going negative means the black door. In the black door is like a metaphor for the parents keeping her from her true love.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>What is your biggest takeaway from this story?\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>So I grew up in an agricultural community in eastern Washington, and I actually when I was a kid, my dad, who worked full time at a potato processing plant, sometimes when he would have summer vacation, he would take me and my siblings out to the cherry harvest, which was during the summer, just to kind of show us like this is what agricultural work is like. This is what it’s like to work with your hands.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>We want our strawberries to cost $2 at the supermarket, but somebody had to pick that by hand. That’s honest, decent work that people are doing and should be well compensated for and should be treated as full people. Farm workers aren’t just here to get up at the break of dawn to pick our food, right? They also have interests and families and hobbies and trauma that they’re dealing with and deserve to to also, you know, not be forgotten once the headlines go away.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, Blanca, thank you so much for sharing your reporting with us. I really appreciate it.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>Thank you, Ericka. And the whole Bay team. This was really fun.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>That was Blanca Torres, a producer and reporter for KQED. This 28 minute conversation with Blanca was cut down and edited by senior editor Alan Montecillo. Maria Esquinca is our producer. She scored this episode and added all the tape. The Bay is a production of member supported KQED in San Francisco. And if you’re not already subscribed to our show on Apple Podcasts or wherever it is, you’re listening, so you never miss a beat. I’m Ericka Cruz Guevarra. Thanks so much for listening. Talk to you next time.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": true,
"hasPolis": false,
"wordCount": 2487,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 54
},
"modified": 1700688950,
"excerpt": "A community group has been trying to use accordion classes to help Half Moon Bay farmworkers heal from the trauma of January's mass shooting.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A community group has been trying to use accordion classes to help Half Moon Bay farmworkers heal from the trauma of January's mass shooting.",
"title": "A Music Class is Helping Farmworkers Heal in Half Moon Bay | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "A Music Class is Helping Farmworkers Heal in Half Moon Bay",
"datePublished": "2023-11-15T03:00:15-08:00",
"dateModified": "2023-11-22T13:35:50-08:00",
"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": "a-music-class-is-helping-farmworkers-heal-in-half-moon-bay",
"status": "publish",
"sourceUrl": "https://www.kqed.org/podcasts/thebay",
"audioUrl": "https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC2503620378.mp3?updated=1700001812",
"excludeFromSiteSearch": "Include",
"source": "The Bay",
"articleAge": "0",
"path": "/news/11967317/a-music-class-is-helping-farmworkers-heal-in-half-moon-bay",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In January, a gunman killed 7 farmworkers at two mushroom farms in Half Moon Bay. Months later, one community group has been trying to use accordion classes as a way to help farmworkers heal from the trauma.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Links:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://kqed.applytojob.com/apply/g81IJAEpax/Intern-The-Bay-Podcast\">Apply to be our intern!\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"card card--enclosed grey\">\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2503620378&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Hey, it’s Ericka. Quick little note. The bay is looking for an intern. This is a 16 hour a week paid opportunity to help us make this show. The internship runs from January through June of 2024. So if you’ve got love for local news, the Bay Area and podcasting. Let’s chat. The deadline to apply is November 17th. We’ll give you a link to the application in our show notes. All right. Here’s the show.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I’m Ericka Cruz Guevarra and welcome to the bay. Local news to keep you rooted. Most Wednesday nights inside of a red barn in Half Moon Bay, you can hear the sound of farm workers learning how to play the accordion together. It’s a way to learn something new and spend time with people, but it’s also a form of therapy. Back in January, a gunman made his way through two farms, just like this one in Half Moon Bay, killing seven farm workers and completely rocking the community. And even though the camera crews are long gone, the pain of what happened here still lives on, which is why one community group has set up this small program to help these farmworkers heal.\u003c/p>\n\u003cp>\u003cstrong>Belinda Hernandez-Arriaga: \u003c/strong>You know, I think that music elevates a soul. It speaks to the soul. It brings in memories of harm, calls to the joy. Sadness, too. But it’s also like a central language, I think, of healing.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Today, we take you inside the program in Half Moon Bay that’s offering healing through music. Stay with us.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>So I went to Cabrillo Farms and Half Moon Bay.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Blanca Torres is a producer and reporter for KQED.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>It’s right off Highway one. I drive down this dirt road and it’s lined by fields on each side, and there’s all this beautiful produce growing out of the ground. I arrived at this barn, you know, it’s just a regular farm. So I went to real farms to observe a music class for farm workers that was sponsored by Atlas, which stands for Uganda Latinos as one year, which means helping Latinos dream. And the idea behind the class was to provide, you know, not just accordion lessons, but also music therapy.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>One by one, the students started coming in for the lesson and they are carrying these big black, bulky backpacks. And inside is their accordions.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>And it was immediately kind of a very convivial atmosphere. Like everyone was excited to see each other. But you could tell people were excited to be there for the music and to see each other and to to have these, you know, this experience together.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>So you went to Half Moon Bay to see about this program. How did it come about and what is the purpose of it?\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>You know, ALAS’ intention with it was to use music as therapy and to help students who normally wouldn’t have access to a music class.\u003c/p>\n\u003cp>\u003cstrong>Belinda Hernandez-Arriaga: \u003c/strong>ALAS was born from the cultural arts. We were born from political mariachi music celebration, Cultura.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>And so Belinda Hernandez-Arriaga is the founder and executive director of Ayudando Latinos A Soñar.\u003c/p>\n\u003cp>\u003cstrong>Belinda Hernandez-Arriaga: \u003c/strong>And we really believe in the power of cultural good to like culture as healing. I’m a clinician, so I do mental health therapy, and we understand that mental health is a big part of our program, along with the cultural arts.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>You know, she has made it very clear that the intention is to to use music, not just as this is a fun pastime.\u003c/p>\n\u003cp>\u003cstrong>Belinda Hernandez-Arriaga: \u003c/strong>The sensory part of it is so important. We know that in order to heal trauma there, they say that one of the best ways of healing trauma is through sensory integration, and they do a lot of sensory work for trauma survivors.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>And after the mass shooting in January, Alaska is really trying to think of ways to address the community trauma and to actually bring a program into the fields directly and to connect their labor, you know, their daily existence with art and culture in a way that would promote healing.\u003c/p>\n\u003cp>\u003cstrong>Belinda Hernandez-Arriaga: \u003c/strong>They’re going out, working the fields, coming home, eating, getting dressed, and then practicing. And so just thinking about how that stimulating them, too, is really impressive. And for us in this work, we see how they’re moving their fingers or having to think in different ways from, you know, stretching out the accordion sound, the music, the scales. It’s a lot that happens.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, tell me a little bit about some of the people in the class.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>So the classes, six students, which they told me was on purpose so that it would be a sizable group, but enough that the instructor could focus on each student. And so some of the students in the class were. The youngest one I talked to is 22 years old. There was someone who was into his sixties.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>I talked to Yesenia, who lives and works at Gabriel Farms and is a mom and was just really excited to learn to play music so that she could just play her accordion during family gatherings.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>Most of the students I talked to had never even picked up an accordion or any instrument. One of those students who had had no musical experience was Pedro Romero Perez, who is a survivor of the mass shooting.\u003c/p>\n\u003cp>\u003cstrong>Pedro Romero Perez: \u003c/strong>*speaking in Spanish*\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>He’s recovering. He’s actually not working right now because of, you know, his healing process. And he did express a lot of appreciation for the program. And, you know, when I asked him, how do you feel about being here, he said he was excited and that it was this calm moment. You know, having these weekly classes was like an opportunity for him to not be at home, to be around other people, to kind of focus on something else besides what happened.\u003c/p>\n\u003cp>\u003cstrong>Pedro Romero Perez: \u003c/strong>*speaking in Spanish*\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>About a week before I visited, ALAS had coordinated a community altar for Delos Martos, and he had put up an altar for his brother who passed away during the shooting.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>This class is a direct result of the shooting that happened in January. I feel like I totally understand, like the role and idea of music being healing, but why the accordion specifically? Why accordion classes?\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>So the accordion is a very integral instrument in Mexican music in a lot of different genres. A lot of the students in the class are from Mexico, and these classes were specifically focusing on like norteno music, which is literally means like music from the north and is a specific genre of Mexican music.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>But you hear accordion music and popular music and just different genres. So the accordion is a very familiar sound. So when Alan was designing this classic specifically, we’re thinking about how to make it feel comforting and make it reminiscent of home. And, you know, for the music to feel like something you would want to listen to or play when you’re just hanging out with your family on a Sunday afternoon or something like that.\u003c/p>\n\u003cp>\u003cstrong>Hernan Hernandez Jr: \u003c/strong>It’s that instrument that’s we can say very much that it’s our own. It’s our it’s our instrument, you know.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>So the instructor is Hernan Hernandez Jr, and his father is one of the members of Lost Egress and Northway, which is a huge Nathaniel band in Mexico. They’ve sold over 36 million records.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I mean, for for folks who aren’t familiar with his family’s background, you described it to me yesterday as being like having the son of Mick Jagger teaching you the accordion.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>I know. The reason I compared him to sort of being a spy on a like a pretty major band, like The Rolling Stones. I mean, I think that’s, you know, that little sticky desert. They’re just so big in Mexico and they’ve been around for so many decades and had so many hits and and they’ve been around for something like 50 years.\u003c/p>\n\u003cp>\u003cstrong>Hernan Hernandez Jr: \u003c/strong>My dad and my uncles are kind of that that tortured that light for it for their people, you know. And so he they kind of always instilled that into us. You know, it doesn’t matter at the end of the day where you come from, we come into this world with nothing and we leave this world with nothing. We’re all born the same way. We all have the same type of blood. And what’s important is that we give back to our people. And so I think.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>They actually did a fundraiser for us after the shooting, and that was one of his introductions to to the organization. And so our last thing came to him and said, you know, will you teach this class? And he had never taught music classes, but he was he jumped at it because he just thought it would be a really great opportunity to give back.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>I mean, what does Hernan say about what he’s seen as an instructor? And I guess like the role that he sees music playing for the students that he’s that he’s teaching in Half Moon Bay.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>I think for Hernan you know, he talked about how, you know, just spending time with the students and getting to know them and getting to know their stories and just seeing their progress. Right. And it’s not like they’re all trying to be professional musicians or anything like that, but just to see them grow so much.\u003c/p>\n\u003cp>\u003cstrong>Hernan Hernandez Jr: \u003c/strong>You know, like I said, just anyone who lives here on the farm has two kids and and they’re in there with us learning accordion as well. And they’re listening and they’re watching. And and it’s cool to really just kind of see that, you know, like there’s something that like, like my father showed me pass it down to me, his uncles pass it down to him. And we’re kind of doing the same thing for this next generations, you know, even if they don’t decide to pursue.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>The happiness, the satisfaction that you get from seeing that progress as a student and for him as a as an instructor, you know, he talked about how that was that was really special for him.\u003c/p>\n\u003cp>\u003cstrong>Hernan Hernandez Jr: \u003c/strong>And as Latinos, I think that’s kind of what our community is lacking opportunities. And so that to me is what I see here. You know, this is a great opportunity for them to be able to learn something new, open their minds to something new. And even if it’s not according, that’s going to do it, but or music, but it will guide them into something new and something positive. And at the end of the day, that’s really what we’re trying to do just create a positive environment for you.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>So at one point they wanted to engage in a song and so and non started playing upward. The Nagra, which is a famous song. Everyone was singing along because everyone knows the song.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>And it’s actually a song about a couple where the parents of the young woman in this couple are keeping her from her love. And the leopard going negative means the black door. In the black door is like a metaphor for the parents keeping her from her true love.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>What is your biggest takeaway from this story?\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>So I grew up in an agricultural community in eastern Washington, and I actually when I was a kid, my dad, who worked full time at a potato processing plant, sometimes when he would have summer vacation, he would take me and my siblings out to the cherry harvest, which was during the summer, just to kind of show us like this is what agricultural work is like. This is what it’s like to work with your hands.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>We want our strawberries to cost $2 at the supermarket, but somebody had to pick that by hand. That’s honest, decent work that people are doing and should be well compensated for and should be treated as full people. Farm workers aren’t just here to get up at the break of dawn to pick our food, right? They also have interests and families and hobbies and trauma that they’re dealing with and deserve to to also, you know, not be forgotten once the headlines go away.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>Well, Blanca, thank you so much for sharing your reporting with us. I really appreciate it.\u003c/p>\n\u003cp>\u003cstrong>Blanca Torres: \u003c/strong>Thank you, Ericka. And the whole Bay team. This was really fun.\u003c/p>\n\u003cp>\u003cstrong>Ericka Cruz Guevarra: \u003c/strong>That was Blanca Torres, a producer and reporter for KQED. This 28 minute conversation with Blanca was cut down and edited by senior editor Alan Montecillo. Maria Esquinca is our producer. She scored this episode and added all the tape. The Bay is a production of member supported KQED in San Francisco. And if you’re not already subscribed to our show on Apple Podcasts or wherever it is, you’re listening, so you never miss a beat. I’m Ericka Cruz Guevarra. Thanks so much for listening. Talk to you next time.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>"
}
],
"link": "/news/11967317/a-music-class-is-helping-farmworkers-heal-in-half-moon-bay",
"authors": [
"8654",
"11666",
"11802",
"11649"
],
"programs": [
"news_28779"
],
"categories": [
"news_8",
"news_33520"
],
"tags": [
"news_18269",
"news_1164",
"news_1425",
"news_22598",
"news_2138"
],
"featImg": "news_11966734",
"label": "source_news_11967317"
},
"news_11966749": {
"type": "posts",
"id": "news_11966749",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11966749",
"score": null,
"sort": [
1699527624000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 33523
},
"blocks": [],
"publishDate": 1699527624,
"format": "standard",
"title": "Meet the Woman Behind Thousands of Famous Fillmore Posters",
"headTitle": "Meet the Woman Behind Thousands of Famous Fillmore Posters | KQED",
"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003cem>Read a transcript of this episode. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>According to Arlene Owseichik, San Francisco’s \u003ca href=\"https://www.kqed.org/news/11731290/how-bill-grahams-nazi-escape-might-explain-his-fillmore-apples\">Fillmore Auditorium\u003c/a> has a “palpable soul.” It was the center of the countercultural music universe for a time, and bands like Santana, Quicksilver Messenger Service, and Janis Joplin’s Big Brother and the Holding Company launched their careers on its stage.\u003c/p>\n\u003cp>“I think every person that’s entered into that building that’s seen a show leaves a part of themselves there,” she says. “I always think of Jimi Hendrix being in that building and making his way down the narrow staircase behind the dressing room onto the stage.” [baycuriousbug]\u003c/p>\n\u003cp>All of this soul and history is on display inside the Fillmore’s infamous Poster Room, a cavernous room whose walls are filled floor to ceiling with posters from decades of the venue’s shows. It’s the closest you can get to stepping into a musical time machine.\u003c/p>\n\u003cp>These days, when you see a show at the Fillmore, you might be lucky enough to get your very own poster for free. They’re a highly anticipated parting gift given out at the biggest shows. Bay Curious listener Ben Kaiser has his poster of the Psychedelic Furs at the Fillmore framed.\u003c/p>\n\u003cfigure id=\"attachment_11966763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-1322089696-qut.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11966763\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-1322089696-qut-800x533.jpg\" alt=\"A display of concert posters. On one wall are numerous framed posters for different musicians. On another wall, a large framed portrait of Grateful Dead guitarist, Jerry Garcia is visible. Garcia is playing a guitar.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-1322089696-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-1322089696-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-1322089696-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-1322089696-qut-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-1322089696-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Posters from the Fillmore hang on a wall next to a large portrait of Jerry Garcia. The Grateful Dead played at the Fillmore more than 50 times. \u003ccite>(Photo By Lea Suzuki/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The posters are artifacts, pieces of time,” he says. “They’re as much [a part] of the concert as the concert.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which got him wondering: the posters of the Fillmore are so legendary, who is the person behind them?\u003c/p>\n\u003cp>From 1985 to 2019, the answer was Arlene Owseichik.\u003c/p>\n\u003ch2>Going to California\u003c/h2>\n\u003cp>Arlene Owseichik came to San Francisco in 1976 for one reason: “I was very aware that the [band] Jefferson Airplane were from San Francisco. We just, kind of on a whim and a prayer, loaded up the car and came west,” she says.\u003c/p>\n\u003cp>One of the first things she did when she got here was ride past the \u003ca href=\"https://www.sfgate.com/obscuresf/article/sf-2400-fulton-jefferson-airplane-17751356.php\">Airplane House on Fulton Street\u003c/a>. “It was crazy,” she laughs.\u003c/p>\n\u003cfigure id=\"attachment_11966782\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-027-BL-qut.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11966782\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-027-BL-qut-800x533.jpg\" alt=\"Close up on the hand of a woman holding a photograph of her younger self. In that image she is holding a camera to her eye. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-027-BL-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-027-BL-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-027-BL-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-027-BL-qut-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-027-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arlene Owseichik, long-time art director at Bill Graham Presents, holds a self-portrait of herself from her early years in San Francisco at her home in Berkeley on Sept. 28, 2023. Owseichik designed posters for Bill Graham Presents for 30 years and produced nearly 2000 of the iconic concert posters. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Owseichik studied art in college and wanted to work in photography and graphic design. She got a job doing “paste-ups” for a hip design studio, Ampersand. In a time before Photoshop, paste-ups were how you manually put images and photos together for printing, literally cutting with an X-acto knife and pasting layers onto a board like a collage. She primarily made announcements for shows that went inside the SF Chronicle’s entertainment section.\u003c/p>\n\u003cp>“I got pretty good with that X-Acto knife and actually stabbed myself a few times. Those were the hazards of the olden days of graphics,” she recalls.\u003c/p>\n\u003cp>One day, the phone rang while she was at work. Owseichik picked it up, and the concert promotion company Bill Graham Presents was on the other end. They asked her if anyone there would want to work for them doing paste-ups. She didn’t hesitate.\u003c/p>\n\u003cp>“I said, ‘Yeah, I’d love to. And that was the start of it.’”\u003c/p>\n\u003cp>Seven years later, Owseichik proposed that Bill Graham Presents hire her to do the paste-ups in-house as their first-ever art director.\u003c/p>\n\u003cp>“It was pretty scary. They sat on the proposal for months,” she says. But she got the gig.\u003c/p>\n\u003cp>Owseichik had come to San Francisco for the music, and now she was plugged into one of the most influential music scenes of the 20th century.\u003c/p>\n\u003cp>“I think that’s how things happen. They’re just unexpected. A door opens. Take it.”\u003c/p>\n\u003ch2>Working for Bill Graham\u003c/h2>\n\u003cp>Arlene Owseichik’s boss at Bill Graham Presents was Bill Graham itself, the larger-than-life concert promoter. “He was riveting. He was handsome. He was funny. He was electric. He was the dream boss,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11966779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-51696718-scaled-e1699476265572.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11966779\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-51696718-scaled-e1699476265572-800x1072.jpg\" alt=\"Black and white photo of a man sitting at a desk talking on phone with a cord. There are many photos and posters on the wall behind him. \" width=\"800\" height=\"1072\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-51696718-scaled-e1699476265572-800x1072.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-51696718-scaled-e1699476265572-1020x1366.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-51696718-scaled-e1699476265572-160x214.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-51696718-scaled-e1699476265572-1147x1536.jpg 1147w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-51696718-scaled-e1699476265572-1529x2048.jpg 1529w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-51696718-scaled-e1699476265572.jpg 1696w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">German-born American businessman Bill Graham (1931–1991), rock concert producer and promoter, talks on the phone in his office at the Fillmore West music club, San Francisco, California, August 1969. The walls are decorated with psychedelic concert posters and photographs, and a stack of record albums is on top of a bookshelf. \u003ccite>(Photo by Jon Brenneis/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the ’60s, Bill Graham Presents made a name for themselves by booking the biggest musical acts of the counterculture. The psychedelic posters designed to promote these shows were originally created just as advertisements — but they quickly became sought-after collectibles, written about in national magazines and reprinted for sale.\u003c/p>\n\u003cp>In the mid-’80s, Graham decided to take the posters in a different direction. They weren’t going to be advertisements anymore, they were going to be mementos given out at the end of concerts, stand-alone works of art. And as art director, Arlene Owseichik was responsible for making nearly every single one of those posters happen from 1985 to 2019.\u003c/p>\n\u003cp>It was a huge job, and she gave it her all: “I was working with different poster artists…[it was] fantastic, stimulating, wonderful. It just was never-ending, the amount of work that I loved and the people that were doing it.”\u003c/p>\n\u003ch2>The Making of a Fillmore Poster\u003c/h2>\n\u003cp>As art director, Owseichik was in charge of the many moving parts it took to create a Fillmore poster. At the beginning of each month, she got a list of upcoming shows from the booker. The shows that got posters were those that would sell out simply because it meant there would be money to pay for everything. Owseichik would research the bands (which she says definitely got easier once the Internet and iTunes came around), then call up one of the many talented poster artists from her arsenal that was the best aesthetic match. The poster artist would create a first draft, and then Owseichik would work with them to come up with a final design.\u003c/p>\n\u003cfigure id=\"attachment_11966783\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/img20231006_15482414-qut.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11966783\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/img20231006_15482414-qut-800x605.jpg\" alt=\"Black and white image of a woman wearing a white blazer, standing with her hands on her hips. Behind her is a wall filled with dozens of framed concert posters. \" width=\"800\" height=\"605\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/img20231006_15482414-qut-800x605.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/img20231006_15482414-qut-1020x772.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/img20231006_15482414-qut-160x121.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/img20231006_15482414-qut-1536x1162.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/img20231006_15482414-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arlene Owseichik in 1989 in the Fillmore poster room. \u003ccite>(Courtesy of Arlene Owseichik)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As far as creative direction was concerned, there were only a few rules: no portraits and no guns.\u003c/p>\n\u003cp>“I never wanted punky boy art,” she says. “I really stood my ground on [that]. I wanted the posters to be a celebration of art and of music.”\u003c/p>\n\u003cp>The final hurdle was getting the poster approved by management, which Owseichik says could be rocky.\u003c/p>\n\u003cp>“There were different opinions. As fun as it was, it was also really hard and heartbreaking that somebody could spend a week doing a poster, and then basically it would just be tossed in the trash,” she says.\u003c/p>\n\u003cp>Because the posters were given away for free, Owseichik never had to involve the band in the poster approval process, so the final poster was just as much a surprise to them as it was to the audience. The exceptions were Tom Petty and the Counting Crows — they insisted on approving the posters before print. Generally, the bands loved their posters, but of course, there were some exceptions, notably Greg Allman.\u003c/p>\n\u003cp>One of her favorite posters was created by artist James Mecier for \u003ca href=\"https://www.dking-gallery.com/store/FIL_511.html\">Willie Nelson’s 2002 show\u003c/a>. It’s a collage of the musician’s face made with feathers, rocks, and stones.\u003c/p>\n\u003cp>Another of her favorites is a \u003ca href=\"https://visiblevibrations.com/product/b-b-king-concert-poster-2007-f-898-fillmore/\">2007 poster for BB King\u003c/a> done by illustrator Alan Forbes. It features a shiny black guitar drawn with outstretched angel wings and a jeweled crown circling its neck.\u003c/p>\n\u003cp>“The truth be said, I loved every one of them. They’re all my children,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11966755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/jefferson-airplane-poster-sep-26-1989-sep-28-1989-qut-e1699479797416.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11966755\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/jefferson-airplane-poster-sep-26-1989-sep-28-1989-qut-e1699479797416-800x530.jpg\" alt=\"A concert poster for the band Jefferson Airplane, featuring a black and white image of the Golden Gate Bridge shrouded in fog, with a multicolored illustration of a bi-wing airplane flying over it.\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/jefferson-airplane-poster-sep-26-1989-sep-28-1989-qut-e1699479797416-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/jefferson-airplane-poster-sep-26-1989-sep-28-1989-qut-e1699479797416-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/jefferson-airplane-poster-sep-26-1989-sep-28-1989-qut-e1699479797416-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/jefferson-airplane-poster-sep-26-1989-sep-28-1989-qut-e1699479797416.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The poster for Jefferson Airplane was designed and illustrated by Arlene Owseichik. \u003ccite>(Arlene Owseichik)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She even got to design and illustrate a poster for Jefferson Airplane, which she says was “a dream come true.” For the design, she drew a bi-winged airplane flying over a photo she had taken of the Golden Gate Bridge.\u003c/p>\n\u003cp>Another one of Owseichik’s duties as art director was designing the dressing rooms for big acts, especially as Bill Graham Presents expanded their venues across the Bay. When Jimmy Page came to play at the Oakland Coliseum with an Egyptian band, she used props and décor to transform his dressing room into an Egyptian oasis. When Page entered the room after the show to grab a beer from the cooler, Owseichik was “star-struck.”\u003c/p>\n\u003cp>Her friends thought she had the coolest job in the world, and she agreed with them.\u003c/p>\n\u003ch2>The Final Act\u003c/h2>\n\u003cp>For thirty-three years, Bill Graham Presents — and these posters — were Arlene Owseichik’s entire world. So, her decision to retire in 2019 was a difficult one, even though she knew it was time. She remembers giving her notice, feeling like an “out of body experience.”\u003c/p>\n\u003cp>The Fillmore’s longtime marketing manager, Ashley Graham (no relation to Bill Graham), stepped into the role as the venue’s art director and still holds the position.\u003c/p>\n\u003cp>Arlene says she’s still decompressing from the job’s long days: “There were times that I worked 24 hours…that I never left the office,” she says. She also doesn’t miss the deadlines, like in 2014 when she had less than two days’ notice to make a poster for Prince at the Fillmore. She and Frank Wiedemann were feeling good about their design \u003ca href=\"https://visiblevibrations.com/product/prince-concert-poster-2014-f-1256-fillmore/\">incorporating Prince’s guitar and the newly opened Bay Bridge\u003c/a> … and then she realized they had printed the wrong date.\u003c/p>\n\u003cp>“We had to redo the poster, like in an instant: change the file, reprint it, do it with the proper date,” she says. “That was pretty darn stressful. But hey, it was Prince.”\u003c/p>\n\u003cfigure id=\"attachment_11966784\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-009-BL-qut.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11966784\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-009-BL-qut-800x533.jpg\" alt='A woman in a yellow shirt hold a concert poster for the artist \"Prince.\" ' width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-009-BL-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-009-BL-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-009-BL-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-009-BL-qut-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-009-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arlene Owseichik looks at a Prince poster she created during her time as art director at Bill Graham Presents at her home in Berkeley on Sept. 28, 2023. Owseichik designed posters for Bill Graham Presents for 30 years and produced nearly 2000 of the iconic concert posters. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says she used to be addicted to excitement, but these days, she’s happy to have a quieter daily routine: no shows, no deadlines, and no late nights. The thing she does miss about going to shows at the Fillmore is seeing concert-goers stream out of the building at the end to get their posters. People tell her stories about this all the time: “Like, ‘Oh, that’s where I met my wife,’ or ‘That was such an amazing night.’ And then it’s all embodied in this poster,” she says. “It’s part of San Francisco lore. It’s incredible.”\u003c/p>\n\u003cp>Owseichik hasn’t cast aside the design world. She has her own business, \u003ca href=\"http://www.bigpicturedesign.biz/\">Big Picture Design\u003c/a>, which she says was partly inspired by how Bill Graham always had his eye on the “big picture.”\u003c/p>\n\u003cp>She may not be spending her days at the Fillmore anymore, but it’s undeniable that she has left her mark on the building the same way Jimi Hendrix did more than 50 years ago.\u003c/p>\n\u003cp>“I feel really blessed,” she says. “It was just really an incredible place to be. I hope it lives forever.”\u003c/p>\n\u003cp>\u003cem>This story has been updated.\u003c/em>\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> Years ago, Bay Curious listener Ben Kaiser was seeing a show at San Francisco’s Fillmore Auditorium … The Psychedelic Furs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[The Psychedelic Furs, “Love my Way” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a great show. The kind he’ll remember forever. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser: \u003c/b>\u003cspan style=\"font-weight: 400\">And luckily, that night, they were offering a free poster to everybody in attendance. That was my first poster of the Psychedelic Furs. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s now framed in his Atlanta home. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s a very dark and moody poster. It looks like somebody standing in an alley, walking away from the perspective of the viewer. It’s a beautiful poster. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">Free posters are a beloved parting gift for concert-goers at the Fillmore. They’re never guaranteed, only given out at the biggest shows. And they’re created just for the Fillmore audiences — so when folks do get one, it’s special.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser: \u003c/b>\u003cspan style=\"font-weight: 400\">These posters are artifacts, pieces of time. They’re as much of the concert as the concert.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">At this point, the free posters are almost as legendary as The Fillmore Auditorium itself — a center stage for the counterculture music scene during the 1960s. Bands like Santana, Quicksilver Messenger Service, and Janis Joplin’s Big Brother and the Holding Company launched their careers on that stage. The Grateful Dead played there more than 50 TIMES. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[The Grateful Dead “Friend of the Devil” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">The posters. The venue. It’s history! This all got Ben wondering… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser: \u003c/b>\u003cspan style=\"font-weight: 400\">The Fillmore is legendary. The posters at the Fillmore are legendary. The poster wall at the Fillmore is legendary. But what I would like to know more about is the person behind the poster. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">The creative director behind hundreds of the Fillmore’s storied posters — Arlene Owseichik.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Today on Bay Curious, we’ve got a rocking collision of Bay Area art, music and history. I’m Olivia Allen-Price. We’ll be right back.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">Our listener Ben wanted to know more about the women behind the Fillmore’s legendary concert posters…. Reporter Bianca Taylor takes the mic … \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Jefferson Airplane’s “White Rabbit” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Arlene Owseichik came to San Francisco in her mid-twenties… drawn by the sounds of Haight Ashbury.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">I was very aware that the Jefferson Airplane were from San Francisco. And just kind of on a whim and a prayer, we loaded up the car and came west. And. And one of the first things we did was ride by the airplane mansion on Fulton Street,\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> It was 1976, and although it had been almost a decade since the Summer of Love, the spirit of music and art was alive and well in the city. Arlene’s first job was waitressing at the infamous North Beach Beat hangout, Vesuvio Cafe. She had studied art in college and wanted to be a photographer, so she also started volunteering at Camerawork — a nonprofit art gallery which is still around today. She spent her days there working with glue and scissors, using a collage-type process to make ads in newspapers. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">I would do the paste-up for the announcements for shows.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> In a time before Photoshop, paste-ups were how you manually put images and photos together for copying or printing — literally cutting and pasting layers onto a board. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">I got pretty good with that X-Acto knife and actually stabbed myself a few times. Those were the hazards of the olden days of graphics. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Soon, she got hired by a small design studio, Ampersand, and started working on paste-ups full-time. One day, the phone rang at work — Arlene picked it up, and on the other end .. was the concert promotion company, Bill Graham Presents. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">It was like, “Oh, might somebody at Ampersand Design, you know, be able to take on pasting up ads ?” So I said, ‘Yeah, I’d love to. And that was the start of it.’\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> She started making paste-up newspaper ads for them… and then in 1985, after she proposed that they hire her in-house, Arlene became Bill Graham Presents’ first-ever art director. This was a dream job — she had always been a huge music fan… and now she was plugged into one of the most influential music scenes of the 20th century.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">A door opens. Take it.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> At the time, Bill Graham Presents was run by Bill Graham himself, the larger-than-life concert promoter. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Archival clip of Bill Graham: \u003c/b>\u003cspan style=\"font-weight: 400\">I think the artist is the most privileged of all species. I consider myself to be the next most fortunate.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Bill Graham was an enigmatic man with an unbelievable story. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Born Wolfgang Grajonca in 1930s Berlin, he fled to New York as an orphaned 10-year-old, having lost his mother in the Holocaust. He changed his name to Bill Graham to sound more American…By the time Arlene met him, he had his signature thick Bronx accent. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik:\u003c/b>\u003cspan style=\"font-weight: 400\"> I adored him. He was— He was riveting. He was handsome. He was funny. He was electric.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Aretha Franklin Live at the Fillmore album, “Respect” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> In the ’60s, Bill and his company, Bill Graham Presents, had become famous for booking the biggest musical acts of the day: everyone from the Grateful Dead and Santana to Janis Joplin and Aretha Franklin.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The psychedelic posters designed to promote these shows were just created as advertisements — but they quickly became famous collectibles, written about in national magazines and reprinted for sale. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the mid-’80s, Bill Graham decided to take the posters in a different direction: they weren’t going to be advertisements anymore, they were going to be mementos given out at the end of concerts. Stand-alone works of art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And as Art Director, Arlene was the person behind nearly every single one of those posters from 1985 to 2019. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">I was working with different poster artists, fantastic. Never never-ending, stimulating, wonderful. It just was never ending the amount …the work that I loved and the people that were doing it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Here’s how it worked: At the beginning of each month, Arlene got a list of upcoming shows from the booker…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">Shout out to Michael Bayley, who’s been the booker for the shows all these years.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Shows that got posters were shows that would sell out… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">Because it meant there’s enough money floating around, you know, to pay for everything. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Then, she would go through the list and start doing research on the bands.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">As time went on, I have to say that it became much easier with iTunes and the Internet, and it’s all right at your fingertips.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Once she had a sense for the band’s style, she’d think about which poster artist’s aesthetic would be the best match.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">By this time, I had worked with a roster of poster artists, and so I’d call up Frank Wiedemann and and I’d say, you know, whatever. Duran Duran! And then he’d go, “Yeah.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Duran Duran’s “Girls on Film” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Then the fun part — the artist would create a poster, show it to Arlene, and the two of them would work together to come up with a final design. There were only a few rules she enforced: The first was no portraits. The second was no guns. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">I never wanted guns. I never wanted, you know, death masks. I never wanted, like, really kind of punky boy art. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> When she and the artist got to a final design, she would take it to management for approval… which Arlene says was less fun. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">That could be very rocky at times. There were perhaps different opinions. As fun, as it was, it was also really, really hard and really heartbreaking that somebody could spend a week doing a poster, and then basically, it would just be tossed in the trash because it was deemed, you know, not appropriate or whatever. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> One of her favorite posters was created by artist James Mecier for Willie Nelson’s 2 thousand 2 show. It’s a collage of the musician’s face made with feathers, rocks, and stones. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Another of her favorites is a 2007 poster for BB King done by illustrator Alan Forbes. It features a shiny black guitar drawn with outstretched angel wings, a jeweled crown circling its neck. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik:\u003c/b>\u003cspan style=\"font-weight: 400\"> The truth be said, I loved every one of them. They were. They’re all my children. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Because the posters were given away for free, Arlene NEVER had to involve the BAND in the poster approval process. The final poster was just as much a surprise to them as it was to the audience. The exceptions were Tom Petty and the Counting Crows — \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">they\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> insisted on approving the posters before print. … Generally, the posters were well-received, but of course, there were some exceptions.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">Right, like Gregg Allman didn’t like his poster. I know Zero Seven didn’t like their poster.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> She even got to design AND ILLUSTRATE a poster for the band that inspired her to MOVE to San Francisco… Jefferson Airplane. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Jefferson Airplane’s “Today” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">The poster consists of a photo that I took of the Golden Gate Bridge and Fog. And so it’s just this really nice photo. And then, I illustrated a bi-winged airplane flying over the bridge. It was like my dream come true: to do a poster for the airplane.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Another duty Arlene took on as Art Director was designing the dressing rooms for big acts —especially as Bill Graham Presents started booking shows at other venues across the Bay. She did the dressing room for Jimmy Page when he played the Oakland Coliseum — transforming it with props and decorations, almost like a film set.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">I made his room Egyptian. They were touring with an Egyptian band. And then, after the show, I was sitting in the dressing room just waiting for the rest of the crew to come in and, like, take down the dressing room. And I was sitting there, and he came in, and he and he, like, got a beer out of the cooler. I was star-struck.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> For thirty-three years, Bill Graham Presents — and these posters — were Arlene’s entire world. So, her decision to retire in 2019 was a difficult one.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik:\u003c/b>\u003cspan style=\"font-weight: 400\"> I mean, I knew that it was time, but just physically, it was an out-of-body experience because it had meant so much to me, and it had been so long.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> She says she’s still decompressing from the fast-paced days… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">There were times that I worked 24 hours. I mean, that I never left the office. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> And the deadlines — like in 2014 when she had less than two days’ notice to make a poster for Prince… Arlene immediately called up illustrator Frank Wiedemann, and they came up with a design incorporating Prince’s guitar and the newly opened Bay Bridge…\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Prince’s “Kiss” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> …and then they realized they had printed the wrong date. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">We had to redo the poster like in an instant, to change the file, to reprint it, to do it with the proper date. So, I’d say that was pretty darn stressful. But hey, it was Prince. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Prince’s “Kiss” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik:\u003c/b>\u003cspan style=\"font-weight: 400\"> I used to be addicted to excitement, I realize. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> These days, she’s quite happy to have a much quieter daily routine. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, my God. I went to so many shows, which is why I rarely go to shows. Yeah, it would take—not quite a crane to get me out of here, but…[laughs] But no, I had my fill of shows.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> The thing she does miss about going to shows at the Fillmore is seeing concert-goers stream out of the building at the end to get their posters. People tell her stories about this all the time: \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">Like, Oh, that’s where I met my wife or that, you know, that was such an amazing night. And then it’s all embodied in this poster. It’s part of San Francisco lore. It’s. It’s incredible. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> When she reflects back on her three-decade career, she talks about the Fillmore like it’s an old friend.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think buildings have soul. I think every person that’s entered into that building that’s seen a show leaves a part of themselves there. I think of all the performers.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Jimi Hendrix’s “Little Wing” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">I always think of Jimi Hendrix being in that building and making his way down the narrow staircase behind the dressing room onto the stage. And I just think it’s just an incredible place that it’s so—it’s palpable how much soul it has. I hope it lives forever.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Arlene hasn’t cast aside the design world, though — she has her own business, Big Picture Design, which she says was inspired in part by the way Bill Graham always had his eye on the “big picture.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And If there’s one piece of career advice she can give to people, it’s to follow your bliss. After all… \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Jefferson Airplane’s “Somebody to Love” plays] \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">I had to move to San Francisco, you know, I had to follow the Jefferson Airplane and had to just— I did what I loved. It came from my heart. And it really paid off.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Jefferson Airplane’s “Somebody to Love” plays] \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">That was KQED’s Bianca Taylor. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Many moons ago, we aired a story about another tradition at the Fillmore Auditorium — how they also give away free apples at their shows. We’ll drop that link in our show notes if you want to learn more.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thanks to Ben Kaiser for asking this week’s question, which was chosen by you in a public voting round earlier this year. Our November voting round is currently up, and you have some interesting choices, my friends: Questions about geese migration patterns, hot dog vendors, and a biscuit San Francisco was supposedly once known the world over for… Cast your vote at BayCurious.org!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser: \u003c/b>Bay Curious is made in San Francisco at member—supported KQED. The show is produced by Amanda Font, Christopher Beale, and Olivia Allen-Price.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">Additional support from Jen Chien, Katie Sprenger, Cesar Saldana, Maha Sanad, Holly Kernan, and the entire KQED Family.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m Olivia Allen-Price. Have a great week!\u003c/span>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 4736,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": true,
"iframeSrcs": [],
"paragraphCount": 136
},
"modified": 1700531192,
"excerpt": "For more than 30 years, former Art Director of Bill Graham Presents Arlene Owseichik, brought the famous free Fillmore concert posters to millions of concertgoers.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "For more than 30 years, former Art Director of Bill Graham Presents Arlene Owseichik, brought the famous free Fillmore concert posters to millions of concertgoers.",
"title": "Meet the Woman Behind Thousands of Famous Fillmore Posters | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Meet the Woman Behind Thousands of Famous Fillmore Posters",
"datePublished": "2023-11-09T03:00:24-08:00",
"dateModified": "2023-11-20T17:46:32-08:00",
"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": "meet-the-woman-behind-the-fillmores-famous-posters",
"status": "publish",
"templateType": "standard",
"audioUrl": "https://www.podtrac.com/pts/redirect.mp3/pdst.fm/e/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC5576591287.mp3?updated=1699490298",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"articleAge": "0",
"path": "/news/11966749/meet-the-woman-behind-the-fillmores-famous-posters",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003cem>Read a transcript of this episode. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>According to Arlene Owseichik, San Francisco’s \u003ca href=\"https://www.kqed.org/news/11731290/how-bill-grahams-nazi-escape-might-explain-his-fillmore-apples\">Fillmore Auditorium\u003c/a> has a “palpable soul.” It was the center of the countercultural music universe for a time, and bands like Santana, Quicksilver Messenger Service, and Janis Joplin’s Big Brother and the Holding Company launched their careers on its stage.\u003c/p>\n\u003cp>“I think every person that’s entered into that building that’s seen a show leaves a part of themselves there,” she says. “I always think of Jimi Hendrix being in that building and making his way down the narrow staircase behind the dressing room onto the stage.” \u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>All of this soul and history is on display inside the Fillmore’s infamous Poster Room, a cavernous room whose walls are filled floor to ceiling with posters from decades of the venue’s shows. It’s the closest you can get to stepping into a musical time machine.\u003c/p>\n\u003cp>These days, when you see a show at the Fillmore, you might be lucky enough to get your very own poster for free. They’re a highly anticipated parting gift given out at the biggest shows. Bay Curious listener Ben Kaiser has his poster of the Psychedelic Furs at the Fillmore framed.\u003c/p>\n\u003cfigure id=\"attachment_11966763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-1322089696-qut.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11966763\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-1322089696-qut-800x533.jpg\" alt=\"A display of concert posters. On one wall are numerous framed posters for different musicians. On another wall, a large framed portrait of Grateful Dead guitarist, Jerry Garcia is visible. Garcia is playing a guitar.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-1322089696-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-1322089696-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-1322089696-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-1322089696-qut-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-1322089696-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Posters from the Fillmore hang on a wall next to a large portrait of Jerry Garcia. The Grateful Dead played at the Fillmore more than 50 times. \u003ccite>(Photo By Lea Suzuki/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The posters are artifacts, pieces of time,” he says. “They’re as much [a part] of the concert as the concert.”\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>Which got him wondering: the posters of the Fillmore are so legendary, who is the person behind them?\u003c/p>\n\u003cp>From 1985 to 2019, the answer was Arlene Owseichik.\u003c/p>\n\u003ch2>Going to California\u003c/h2>\n\u003cp>Arlene Owseichik came to San Francisco in 1976 for one reason: “I was very aware that the [band] Jefferson Airplane were from San Francisco. We just, kind of on a whim and a prayer, loaded up the car and came west,” she says.\u003c/p>\n\u003cp>One of the first things she did when she got here was ride past the \u003ca href=\"https://www.sfgate.com/obscuresf/article/sf-2400-fulton-jefferson-airplane-17751356.php\">Airplane House on Fulton Street\u003c/a>. “It was crazy,” she laughs.\u003c/p>\n\u003cfigure id=\"attachment_11966782\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-027-BL-qut.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11966782\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-027-BL-qut-800x533.jpg\" alt=\"Close up on the hand of a woman holding a photograph of her younger self. In that image she is holding a camera to her eye. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-027-BL-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-027-BL-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-027-BL-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-027-BL-qut-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-027-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arlene Owseichik, long-time art director at Bill Graham Presents, holds a self-portrait of herself from her early years in San Francisco at her home in Berkeley on Sept. 28, 2023. Owseichik designed posters for Bill Graham Presents for 30 years and produced nearly 2000 of the iconic concert posters. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Owseichik studied art in college and wanted to work in photography and graphic design. She got a job doing “paste-ups” for a hip design studio, Ampersand. In a time before Photoshop, paste-ups were how you manually put images and photos together for printing, literally cutting with an X-acto knife and pasting layers onto a board like a collage. She primarily made announcements for shows that went inside the SF Chronicle’s entertainment section.\u003c/p>\n\u003cp>“I got pretty good with that X-Acto knife and actually stabbed myself a few times. Those were the hazards of the olden days of graphics,” she recalls.\u003c/p>\n\u003cp>One day, the phone rang while she was at work. Owseichik picked it up, and the concert promotion company Bill Graham Presents was on the other end. They asked her if anyone there would want to work for them doing paste-ups. She didn’t hesitate.\u003c/p>\n\u003cp>“I said, ‘Yeah, I’d love to. And that was the start of it.’”\u003c/p>\n\u003cp>Seven years later, Owseichik proposed that Bill Graham Presents hire her to do the paste-ups in-house as their first-ever art director.\u003c/p>\n\u003cp>“It was pretty scary. They sat on the proposal for months,” she says. But she got the gig.\u003c/p>\n\u003cp>Owseichik had come to San Francisco for the music, and now she was plugged into one of the most influential music scenes of the 20th century.\u003c/p>\n\u003cp>“I think that’s how things happen. They’re just unexpected. A door opens. Take it.”\u003c/p>\n\u003ch2>Working for Bill Graham\u003c/h2>\n\u003cp>Arlene Owseichik’s boss at Bill Graham Presents was Bill Graham itself, the larger-than-life concert promoter. “He was riveting. He was handsome. He was funny. He was electric. He was the dream boss,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11966779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-51696718-scaled-e1699476265572.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11966779\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-51696718-scaled-e1699476265572-800x1072.jpg\" alt=\"Black and white photo of a man sitting at a desk talking on phone with a cord. There are many photos and posters on the wall behind him. \" width=\"800\" height=\"1072\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-51696718-scaled-e1699476265572-800x1072.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-51696718-scaled-e1699476265572-1020x1366.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-51696718-scaled-e1699476265572-160x214.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-51696718-scaled-e1699476265572-1147x1536.jpg 1147w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-51696718-scaled-e1699476265572-1529x2048.jpg 1529w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/GettyImages-51696718-scaled-e1699476265572.jpg 1696w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">German-born American businessman Bill Graham (1931–1991), rock concert producer and promoter, talks on the phone in his office at the Fillmore West music club, San Francisco, California, August 1969. The walls are decorated with psychedelic concert posters and photographs, and a stack of record albums is on top of a bookshelf. \u003ccite>(Photo by Jon Brenneis/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the ’60s, Bill Graham Presents made a name for themselves by booking the biggest musical acts of the counterculture. The psychedelic posters designed to promote these shows were originally created just as advertisements — but they quickly became sought-after collectibles, written about in national magazines and reprinted for sale.\u003c/p>\n\u003cp>In the mid-’80s, Graham decided to take the posters in a different direction. They weren’t going to be advertisements anymore, they were going to be mementos given out at the end of concerts, stand-alone works of art. And as art director, Arlene Owseichik was responsible for making nearly every single one of those posters happen from 1985 to 2019.\u003c/p>\n\u003cp>It was a huge job, and she gave it her all: “I was working with different poster artists…[it was] fantastic, stimulating, wonderful. It just was never-ending, the amount of work that I loved and the people that were doing it.”\u003c/p>\n\u003ch2>The Making of a Fillmore Poster\u003c/h2>\n\u003cp>As art director, Owseichik was in charge of the many moving parts it took to create a Fillmore poster. At the beginning of each month, she got a list of upcoming shows from the booker. The shows that got posters were those that would sell out simply because it meant there would be money to pay for everything. Owseichik would research the bands (which she says definitely got easier once the Internet and iTunes came around), then call up one of the many talented poster artists from her arsenal that was the best aesthetic match. The poster artist would create a first draft, and then Owseichik would work with them to come up with a final design.\u003c/p>\n\u003cfigure id=\"attachment_11966783\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/img20231006_15482414-qut.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11966783\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/img20231006_15482414-qut-800x605.jpg\" alt=\"Black and white image of a woman wearing a white blazer, standing with her hands on her hips. Behind her is a wall filled with dozens of framed concert posters. \" width=\"800\" height=\"605\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/img20231006_15482414-qut-800x605.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/img20231006_15482414-qut-1020x772.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/img20231006_15482414-qut-160x121.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/img20231006_15482414-qut-1536x1162.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/img20231006_15482414-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arlene Owseichik in 1989 in the Fillmore poster room. \u003ccite>(Courtesy of Arlene Owseichik)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As far as creative direction was concerned, there were only a few rules: no portraits and no guns.\u003c/p>\n\u003cp>“I never wanted punky boy art,” she says. “I really stood my ground on [that]. I wanted the posters to be a celebration of art and of music.”\u003c/p>\n\u003cp>The final hurdle was getting the poster approved by management, which Owseichik says could be rocky.\u003c/p>\n\u003cp>“There were different opinions. As fun as it was, it was also really hard and heartbreaking that somebody could spend a week doing a poster, and then basically it would just be tossed in the trash,” she says.\u003c/p>\n\u003cp>Because the posters were given away for free, Owseichik never had to involve the band in the poster approval process, so the final poster was just as much a surprise to them as it was to the audience. The exceptions were Tom Petty and the Counting Crows — they insisted on approving the posters before print. Generally, the bands loved their posters, but of course, there were some exceptions, notably Greg Allman.\u003c/p>\n\u003cp>One of her favorite posters was created by artist James Mecier for \u003ca href=\"https://www.dking-gallery.com/store/FIL_511.html\">Willie Nelson’s 2002 show\u003c/a>. It’s a collage of the musician’s face made with feathers, rocks, and stones.\u003c/p>\n\u003cp>Another of her favorites is a \u003ca href=\"https://visiblevibrations.com/product/b-b-king-concert-poster-2007-f-898-fillmore/\">2007 poster for BB King\u003c/a> done by illustrator Alan Forbes. It features a shiny black guitar drawn with outstretched angel wings and a jeweled crown circling its neck.\u003c/p>\n\u003cp>“The truth be said, I loved every one of them. They’re all my children,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11966755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/jefferson-airplane-poster-sep-26-1989-sep-28-1989-qut-e1699479797416.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11966755\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/jefferson-airplane-poster-sep-26-1989-sep-28-1989-qut-e1699479797416-800x530.jpg\" alt=\"A concert poster for the band Jefferson Airplane, featuring a black and white image of the Golden Gate Bridge shrouded in fog, with a multicolored illustration of a bi-wing airplane flying over it.\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/jefferson-airplane-poster-sep-26-1989-sep-28-1989-qut-e1699479797416-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/jefferson-airplane-poster-sep-26-1989-sep-28-1989-qut-e1699479797416-1020x676.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/jefferson-airplane-poster-sep-26-1989-sep-28-1989-qut-e1699479797416-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/jefferson-airplane-poster-sep-26-1989-sep-28-1989-qut-e1699479797416.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The poster for Jefferson Airplane was designed and illustrated by Arlene Owseichik. \u003ccite>(Arlene Owseichik)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She even got to design and illustrate a poster for Jefferson Airplane, which she says was “a dream come true.” For the design, she drew a bi-winged airplane flying over a photo she had taken of the Golden Gate Bridge.\u003c/p>\n\u003cp>Another one of Owseichik’s duties as art director was designing the dressing rooms for big acts, especially as Bill Graham Presents expanded their venues across the Bay. When Jimmy Page came to play at the Oakland Coliseum with an Egyptian band, she used props and décor to transform his dressing room into an Egyptian oasis. When Page entered the room after the show to grab a beer from the cooler, Owseichik was “star-struck.”\u003c/p>\n\u003cp>Her friends thought she had the coolest job in the world, and she agreed with them.\u003c/p>\n\u003ch2>The Final Act\u003c/h2>\n\u003cp>For thirty-three years, Bill Graham Presents — and these posters — were Arlene Owseichik’s entire world. So, her decision to retire in 2019 was a difficult one, even though she knew it was time. She remembers giving her notice, feeling like an “out of body experience.”\u003c/p>\n\u003cp>The Fillmore’s longtime marketing manager, Ashley Graham (no relation to Bill Graham), stepped into the role as the venue’s art director and still holds the position.\u003c/p>\n\u003cp>Arlene says she’s still decompressing from the job’s long days: “There were times that I worked 24 hours…that I never left the office,” she says. She also doesn’t miss the deadlines, like in 2014 when she had less than two days’ notice to make a poster for Prince at the Fillmore. She and Frank Wiedemann were feeling good about their design \u003ca href=\"https://visiblevibrations.com/product/prince-concert-poster-2014-f-1256-fillmore/\">incorporating Prince’s guitar and the newly opened Bay Bridge\u003c/a> … and then she realized they had printed the wrong date.\u003c/p>\n\u003cp>“We had to redo the poster, like in an instant: change the file, reprint it, do it with the proper date,” she says. “That was pretty darn stressful. But hey, it was Prince.”\u003c/p>\n\u003cfigure id=\"attachment_11966784\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-009-BL-qut.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11966784\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-009-BL-qut-800x533.jpg\" alt='A woman in a yellow shirt hold a concert poster for the artist \"Prince.\" ' width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-009-BL-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-009-BL-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-009-BL-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-009-BL-qut-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/11/230928-ArleneOwseichik-009-BL-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arlene Owseichik looks at a Prince poster she created during her time as art director at Bill Graham Presents at her home in Berkeley on Sept. 28, 2023. Owseichik designed posters for Bill Graham Presents for 30 years and produced nearly 2000 of the iconic concert posters. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says she used to be addicted to excitement, but these days, she’s happy to have a quieter daily routine: no shows, no deadlines, and no late nights. The thing she does miss about going to shows at the Fillmore is seeing concert-goers stream out of the building at the end to get their posters. People tell her stories about this all the time: “Like, ‘Oh, that’s where I met my wife,’ or ‘That was such an amazing night.’ And then it’s all embodied in this poster,” she says. “It’s part of San Francisco lore. It’s incredible.”\u003c/p>\n\u003cp>Owseichik hasn’t cast aside the design world. She has her own business, \u003ca href=\"http://www.bigpicturedesign.biz/\">Big Picture Design\u003c/a>, which she says was partly inspired by how Bill Graham always had his eye on the “big picture.”\u003c/p>\n\u003cp>She may not be spending her days at the Fillmore anymore, but it’s undeniable that she has left her mark on the building the same way Jimi Hendrix did more than 50 years ago.\u003c/p>\n\u003cp>“I feel really blessed,” she says. “It was just really an incredible place to be. I hope it lives forever.”\u003c/p>\n\u003cp>\u003cem>This story has been updated.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "baycuriousquestion",
"attributes": {
"named": {
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price:\u003c/b>\u003cspan style=\"font-weight: 400\"> Years ago, Bay Curious listener Ben Kaiser was seeing a show at San Francisco’s Fillmore Auditorium … The Psychedelic Furs.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[The Psychedelic Furs, “Love my Way” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">It was a great show. The kind he’ll remember forever. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser: \u003c/b>\u003cspan style=\"font-weight: 400\">And luckily, that night, they were offering a free poster to everybody in attendance. That was my first poster of the Psychedelic Furs. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s now framed in his Atlanta home. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s a very dark and moody poster. It looks like somebody standing in an alley, walking away from the perspective of the viewer. It’s a beautiful poster. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">Free posters are a beloved parting gift for concert-goers at the Fillmore. They’re never guaranteed, only given out at the biggest shows. And they’re created just for the Fillmore audiences — so when folks do get one, it’s special.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser: \u003c/b>\u003cspan style=\"font-weight: 400\">These posters are artifacts, pieces of time. They’re as much of the concert as the concert.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">At this point, the free posters are almost as legendary as The Fillmore Auditorium itself — a center stage for the counterculture music scene during the 1960s. Bands like Santana, Quicksilver Messenger Service, and Janis Joplin’s Big Brother and the Holding Company launched their careers on that stage. The Grateful Dead played there more than 50 TIMES. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[The Grateful Dead “Friend of the Devil” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">The posters. The venue. It’s history! This all got Ben wondering… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser: \u003c/b>\u003cspan style=\"font-weight: 400\">The Fillmore is legendary. The posters at the Fillmore are legendary. The poster wall at the Fillmore is legendary. But what I would like to know more about is the person behind the poster. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">The creative director behind hundreds of the Fillmore’s storied posters — Arlene Owseichik.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Today on Bay Curious, we’ve got a rocking collision of Bay Area art, music and history. I’m Olivia Allen-Price. We’ll be right back.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">Our listener Ben wanted to know more about the women behind the Fillmore’s legendary concert posters…. Reporter Bianca Taylor takes the mic … \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Jefferson Airplane’s “White Rabbit” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Arlene Owseichik came to San Francisco in her mid-twenties… drawn by the sounds of Haight Ashbury.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">I was very aware that the Jefferson Airplane were from San Francisco. And just kind of on a whim and a prayer, we loaded up the car and came west. And. And one of the first things we did was ride by the airplane mansion on Fulton Street,\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> It was 1976, and although it had been almost a decade since the Summer of Love, the spirit of music and art was alive and well in the city. Arlene’s first job was waitressing at the infamous North Beach Beat hangout, Vesuvio Cafe. She had studied art in college and wanted to be a photographer, so she also started volunteering at Camerawork — a nonprofit art gallery which is still around today. She spent her days there working with glue and scissors, using a collage-type process to make ads in newspapers. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">I would do the paste-up for the announcements for shows.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> In a time before Photoshop, paste-ups were how you manually put images and photos together for copying or printing — literally cutting and pasting layers onto a board. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">I got pretty good with that X-Acto knife and actually stabbed myself a few times. Those were the hazards of the olden days of graphics. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Soon, she got hired by a small design studio, Ampersand, and started working on paste-ups full-time. One day, the phone rang at work — Arlene picked it up, and on the other end .. was the concert promotion company, Bill Graham Presents. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">It was like, “Oh, might somebody at Ampersand Design, you know, be able to take on pasting up ads ?” So I said, ‘Yeah, I’d love to. And that was the start of it.’\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> She started making paste-up newspaper ads for them… and then in 1985, after she proposed that they hire her in-house, Arlene became Bill Graham Presents’ first-ever art director. This was a dream job — she had always been a huge music fan… and now she was plugged into one of the most influential music scenes of the 20th century.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">A door opens. Take it.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> At the time, Bill Graham Presents was run by Bill Graham himself, the larger-than-life concert promoter. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Archival clip of Bill Graham: \u003c/b>\u003cspan style=\"font-weight: 400\">I think the artist is the most privileged of all species. I consider myself to be the next most fortunate.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Bill Graham was an enigmatic man with an unbelievable story. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Born Wolfgang Grajonca in 1930s Berlin, he fled to New York as an orphaned 10-year-old, having lost his mother in the Holocaust. He changed his name to Bill Graham to sound more American…By the time Arlene met him, he had his signature thick Bronx accent. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik:\u003c/b>\u003cspan style=\"font-weight: 400\"> I adored him. He was— He was riveting. He was handsome. He was funny. He was electric.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Aretha Franklin Live at the Fillmore album, “Respect” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> In the ’60s, Bill and his company, Bill Graham Presents, had become famous for booking the biggest musical acts of the day: everyone from the Grateful Dead and Santana to Janis Joplin and Aretha Franklin.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The psychedelic posters designed to promote these shows were just created as advertisements — but they quickly became famous collectibles, written about in national magazines and reprinted for sale. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the mid-’80s, Bill Graham decided to take the posters in a different direction: they weren’t going to be advertisements anymore, they were going to be mementos given out at the end of concerts. Stand-alone works of art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And as Art Director, Arlene was the person behind nearly every single one of those posters from 1985 to 2019. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">I was working with different poster artists, fantastic. Never never-ending, stimulating, wonderful. It just was never ending the amount …the work that I loved and the people that were doing it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Here’s how it worked: At the beginning of each month, Arlene got a list of upcoming shows from the booker…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">Shout out to Michael Bayley, who’s been the booker for the shows all these years.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Shows that got posters were shows that would sell out… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">Because it meant there’s enough money floating around, you know, to pay for everything. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Then, she would go through the list and start doing research on the bands.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">As time went on, I have to say that it became much easier with iTunes and the Internet, and it’s all right at your fingertips.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Once she had a sense for the band’s style, she’d think about which poster artist’s aesthetic would be the best match.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">By this time, I had worked with a roster of poster artists, and so I’d call up Frank Wiedemann and and I’d say, you know, whatever. Duran Duran! And then he’d go, “Yeah.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Duran Duran’s “Girls on Film” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Then the fun part — the artist would create a poster, show it to Arlene, and the two of them would work together to come up with a final design. There were only a few rules she enforced: The first was no portraits. The second was no guns. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">I never wanted guns. I never wanted, you know, death masks. I never wanted, like, really kind of punky boy art. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> When she and the artist got to a final design, she would take it to management for approval… which Arlene says was less fun. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">That could be very rocky at times. There were perhaps different opinions. As fun, as it was, it was also really, really hard and really heartbreaking that somebody could spend a week doing a poster, and then basically, it would just be tossed in the trash because it was deemed, you know, not appropriate or whatever. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> One of her favorite posters was created by artist James Mecier for Willie Nelson’s 2 thousand 2 show. It’s a collage of the musician’s face made with feathers, rocks, and stones. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Another of her favorites is a 2007 poster for BB King done by illustrator Alan Forbes. It features a shiny black guitar drawn with outstretched angel wings, a jeweled crown circling its neck. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik:\u003c/b>\u003cspan style=\"font-weight: 400\"> The truth be said, I loved every one of them. They were. They’re all my children. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Because the posters were given away for free, Arlene NEVER had to involve the BAND in the poster approval process. The final poster was just as much a surprise to them as it was to the audience. The exceptions were Tom Petty and the Counting Crows — \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">they\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> insisted on approving the posters before print. … Generally, the posters were well-received, but of course, there were some exceptions.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">Right, like Gregg Allman didn’t like his poster. I know Zero Seven didn’t like their poster.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> She even got to design AND ILLUSTRATE a poster for the band that inspired her to MOVE to San Francisco… Jefferson Airplane. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Jefferson Airplane’s “Today” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">The poster consists of a photo that I took of the Golden Gate Bridge and Fog. And so it’s just this really nice photo. And then, I illustrated a bi-winged airplane flying over the bridge. It was like my dream come true: to do a poster for the airplane.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Another duty Arlene took on as Art Director was designing the dressing rooms for big acts —especially as Bill Graham Presents started booking shows at other venues across the Bay. She did the dressing room for Jimmy Page when he played the Oakland Coliseum — transforming it with props and decorations, almost like a film set.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">I made his room Egyptian. They were touring with an Egyptian band. And then, after the show, I was sitting in the dressing room just waiting for the rest of the crew to come in and, like, take down the dressing room. And I was sitting there, and he came in, and he and he, like, got a beer out of the cooler. I was star-struck.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> For thirty-three years, Bill Graham Presents — and these posters — were Arlene’s entire world. So, her decision to retire in 2019 was a difficult one.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik:\u003c/b>\u003cspan style=\"font-weight: 400\"> I mean, I knew that it was time, but just physically, it was an out-of-body experience because it had meant so much to me, and it had been so long.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> She says she’s still decompressing from the fast-paced days… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">There were times that I worked 24 hours. I mean, that I never left the office. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> And the deadlines — like in 2014 when she had less than two days’ notice to make a poster for Prince… Arlene immediately called up illustrator Frank Wiedemann, and they came up with a design incorporating Prince’s guitar and the newly opened Bay Bridge…\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Prince’s “Kiss” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> …and then they realized they had printed the wrong date. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">We had to redo the poster like in an instant, to change the file, to reprint it, to do it with the proper date. So, I’d say that was pretty darn stressful. But hey, it was Prince. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Prince’s “Kiss” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik:\u003c/b>\u003cspan style=\"font-weight: 400\"> I used to be addicted to excitement, I realize. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> These days, she’s quite happy to have a much quieter daily routine. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh, my God. I went to so many shows, which is why I rarely go to shows. Yeah, it would take—not quite a crane to get me out of here, but…[laughs] But no, I had my fill of shows.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> The thing she does miss about going to shows at the Fillmore is seeing concert-goers stream out of the building at the end to get their posters. People tell her stories about this all the time: \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">Like, Oh, that’s where I met my wife or that, you know, that was such an amazing night. And then it’s all embodied in this poster. It’s part of San Francisco lore. It’s. It’s incredible. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> When she reflects back on her three-decade career, she talks about the Fillmore like it’s an old friend.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think buildings have soul. I think every person that’s entered into that building that’s seen a show leaves a part of themselves there. I think of all the performers.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Jimi Hendrix’s “Little Wing” plays]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">I always think of Jimi Hendrix being in that building and making his way down the narrow staircase behind the dressing room onto the stage. And I just think it’s just an incredible place that it’s so—it’s palpable how much soul it has. I hope it lives forever.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Bianca Taylor:\u003c/b>\u003cspan style=\"font-weight: 400\"> Arlene hasn’t cast aside the design world, though — she has her own business, Big Picture Design, which she says was inspired in part by the way Bill Graham always had his eye on the “big picture.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And If there’s one piece of career advice she can give to people, it’s to follow your bliss. After all… \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Jefferson Airplane’s “Somebody to Love” plays] \u003c/span>\u003c/p>\n\u003cp>\u003cb>Arlene Owseichik: \u003c/b>\u003cspan style=\"font-weight: 400\">I had to move to San Francisco, you know, I had to follow the Jefferson Airplane and had to just— I did what I loved. It came from my heart. And it really paid off.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[Jefferson Airplane’s “Somebody to Love” plays] \u003c/span>\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">That was KQED’s Bianca Taylor. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Many moons ago, we aired a story about another tradition at the Fillmore Auditorium — how they also give away free apples at their shows. We’ll drop that link in our show notes if you want to learn more.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thanks to Ben Kaiser for asking this week’s question, which was chosen by you in a public voting round earlier this year. Our November voting round is currently up, and you have some interesting choices, my friends: Questions about geese migration patterns, hot dog vendors, and a biscuit San Francisco was supposedly once known the world over for… Cast your vote at BayCurious.org!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Ben Kaiser: \u003c/b>Bay Curious is made in San Francisco at member—supported KQED. The show is produced by Amanda Font, Christopher Beale, and Olivia Allen-Price.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>\u003cspan style=\"font-weight: 400\">Additional support from Jen Chien, Katie Sprenger, Cesar Saldana, Maha Sanad, Holly Kernan, and the entire KQED Family.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m Olivia Allen-Price. Have a great week!\u003c/span>\u003c/p>\n\n\u003c/div>"
}
],
"link": "/news/11966749/meet-the-woman-behind-the-fillmores-famous-posters",
"authors": [
"11365"
],
"programs": [
"news_33523"
],
"series": [
"news_17986"
],
"categories": [
"news_29992",
"news_8",
"news_33520"
],
"tags": [
"news_19133",
"news_32662",
"news_33466",
"news_1425"
],
"featImg": "news_11966780",
"label": "news_33523"
},
"news_11966475": {
"type": "posts",
"id": "news_11966475",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11966475",
"score": null,
"sort": [
1699233010000
]
},
"guestAuthors": [],
"slug": "abracadabra-the-hand-that-feeds",
"title": "abracadabra: 'the hand that feeds'",
"publishDate": 1699233010,
"format": "standard",
"headTitle": "abracadabra: ‘the hand that feeds’ | KQED",
"labelTerm": {},
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">\u003cem>The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/em>\u003c/a>\u003cem> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Hannah Skelton of Oakland band abracadabra describes their music as “kind of a fun dance party, kind of left-field pop music with an ’80s influence, with some dub sprinkled throughout.”\u003c/p>\n\u003cp>Skelton and Chris Niles make up the duo, and do all the writing together in what they describe as a very collaborative songwriting process, with Skelton on vocals and synthesizer, Niles on bass. She says their writing and creative process is “a two-headed-monster kind of style where we’ll sit down with one little bit of inspiration and then we’ll pass it back-and-forth and maybe Chris will lay something down and then I’ll build on that with the next layer.”\u003c/p>\n\u003cp>Skelton and Niles first met after performing together in a Halloween cover band, with a common friend and current co-producer, Jason, in 2016. They played a series of shows together, and quickly realized they had similar tastes and a good collaboration dynamic.\u003c/p>\n\u003cp>They were also both fans of Nine Inch Nails. “The Hand That Feeds” is a Trent Reznor song — and it’s a song, Skelton says, that instantly struck a chord with her.\u003c/p>\n\u003cp>“A few days after Roe v. Wade got overturned, we played a show, and I just remember feeling like there wasn’t a song in our set that fully encompassed the feeling that I had. And it was shortly after that we decided to cover ‘The Hand That Feeds.’ The content, or at least my interpretation of Trent Reznor’s message, felt so right,” Skelton recalls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>abracadabra also made their own \u003ca href=\"https://www.youtube.com/watch?v=atzcFVqgL1E\">music video\u003c/a> for the song, experimenting with a camcorder and a fisheye lens as they filmed near their house in Jingle Town while making the most of Niles’ video editing skills.\u003c/p>\n\u003cp>Skelton says that although the original song by Reznor was a very different style to their aesthetic — very “driving and rock” — she says they had the idea to bring the song into a more “spacious kind of dubby world,” taking on the challenge of making it their own and putting their distinctive voice and interpretation to it. After seeing all-woman band Annika, Skelton says she felt further inspired and empowered, and that she hopes to impart that feeling of power to other people via this song.\u003c/p>\n\u003cp>“The most inspiring thing that’s happening right now is watching people join together and unite and, you know … they’re biting the hand that feeds.”\u003c/p>\n\u003cp>abracadabra will be performing live at\u003ca href=\"https://www.theeparkside.com/\"> Thee Parkside\u003c/a> at 1600 17th Street in San Francisco, Nov. 8.\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "In this episode of the Sunday Music Drop, Oakland band abracadabra share their song 'the hand that feeds.'",
"status": "publish",
"parent": 0,
"modified": 1727137081,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 496
},
"headData": {
"title": "abracadabra: 'the hand that feeds' | KQED",
"description": "In this episode of the Sunday Music Drop, Oakland band abracadabra share their song 'the hand that feeds.'",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "abracadabra: 'the hand that feeds'",
"datePublished": "2023-11-05T17:10:10-08:00",
"dateModified": "2024-09-23T17:18:01-07:00",
"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": "Sunday Music Drop",
"sourceUrl": "https://www.kqed.org/sundaymusicdrop",
"audioUrl": "https://ww2.kqed.org/app/uploads/sites/10/2023/11/SMD_Abracadabra_231105a.mp3",
"sticky": false,
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/news/11966475/abracadabra-the-hand-that-feeds",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">\u003cem>The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/em>\u003c/a>\u003cem> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Hannah Skelton of Oakland band abracadabra describes their music as “kind of a fun dance party, kind of left-field pop music with an ’80s influence, with some dub sprinkled throughout.”\u003c/p>\n\u003cp>Skelton and Chris Niles make up the duo, and do all the writing together in what they describe as a very collaborative songwriting process, with Skelton on vocals and synthesizer, Niles on bass. She says their writing and creative process is “a two-headed-monster kind of style where we’ll sit down with one little bit of inspiration and then we’ll pass it back-and-forth and maybe Chris will lay something down and then I’ll build on that with the next layer.”\u003c/p>\n\u003cp>Skelton and Niles first met after performing together in a Halloween cover band, with a common friend and current co-producer, Jason, in 2016. They played a series of shows together, and quickly realized they had similar tastes and a good collaboration dynamic.\u003c/p>\n\u003cp>They were also both fans of Nine Inch Nails. “The Hand That Feeds” is a Trent Reznor song — and it’s a song, Skelton says, that instantly struck a chord with her.\u003c/p>\n\u003cp>“A few days after Roe v. Wade got overturned, we played a show, and I just remember feeling like there wasn’t a song in our set that fully encompassed the feeling that I had. And it was shortly after that we decided to cover ‘The Hand That Feeds.’ The content, or at least my interpretation of Trent Reznor’s message, felt so right,” Skelton recalls.\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>abracadabra also made their own \u003ca href=\"https://www.youtube.com/watch?v=atzcFVqgL1E\">music video\u003c/a> for the song, experimenting with a camcorder and a fisheye lens as they filmed near their house in Jingle Town while making the most of Niles’ video editing skills.\u003c/p>\n\u003cp>Skelton says that although the original song by Reznor was a very different style to their aesthetic — very “driving and rock” — she says they had the idea to bring the song into a more “spacious kind of dubby world,” taking on the challenge of making it their own and putting their distinctive voice and interpretation to it. After seeing all-woman band Annika, Skelton says she felt further inspired and empowered, and that she hopes to impart that feeling of power to other people via this song.\u003c/p>\n\u003cp>“The most inspiring thing that’s happening right now is watching people join together and unite and, you know … they’re biting the hand that feeds.”\u003c/p>\n\u003cp>abracadabra will be performing live at\u003ca href=\"https://www.theeparkside.com/\"> Thee Parkside\u003c/a> at 1600 17th Street in San Francisco, Nov. 8.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11966475/abracadabra-the-hand-that-feeds",
"authors": [
"11503",
"11812"
],
"programs": [
"news_34370"
],
"categories": [
"news_223",
"news_8",
"news_33520"
],
"tags": [
"news_32662",
"news_1425",
"news_31662"
],
"featImg": "news_11966484",
"label": "source_news_11966475"
},
"news_11963875": {
"type": "posts",
"id": "news_11963875",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11963875",
"score": null,
"sort": [
1697209239000
]
},
"guestAuthors": [],
"slug": "peso-pluma-san-jose-parking-schedule",
"title": "Heading to Peso Pluma’s San José Show? What to Know Before You Go",
"publishDate": 1697209239,
"format": "standard",
"headTitle": "Heading to Peso Pluma’s San José Show? What to Know Before You Go | KQED",
"labelTerm": {
"site": "news"
},
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/news/11964064/peso-pluma-en-san-jose-estacionamiento-seguridad\">\u003cem>¿Buscas esta informacion en español? KQED en Español tiene lo que necesitas — haz clic aquí para leer nuestra cobertura bilingüe.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Peso Pluma — \u003ca href=\"https://www.billboard.com/music/features/peso-pluma-regional-mexican-cover-story-interview-1235370073/\">who topped global Billboard charts twice this summer\u003c/a> — is coming to the Bay Area. The \u003ca href=\"https://remezcla.com/music/julio-preciado-talks-about-corridos-tumbados-calls-them-cochinadas/\">corrido tumbado\u003c/a> superstar will perform at San José’s SAP Center on Friday, October 13.\u003c/p>\n\u003cp>October is shaping up to be a very exciting time in the Bay Area across the different genres of Latino music. Just this past weekend, Mexican pop band RBD played in both San Francisco and San José (\u003ca href=\"https://www.instagram.com/p/CyHG9znSxWj/\">KQED was at the San José show\u003c/a>), while bachata legend Romeo Santos performed at the Oakland Arena — and that’s without even mentioning the big-hitters that have already passed through this year, including Kali Uchis, Karol G and Maluma.\u003c/p>\n\u003cp>But regional Mexican music, in particular, is in the spotlight. Grupo Frontera joined Bad Bunny on Coachella’s main stage this year. At just 19, \u003ca href=\"https://www.youtube.com/watch?v=AynDvSkZ8og\">DannyLux performed for NPR’s\u003cem> Tiny Desk Concerts\u003c/em> last month\u003c/a>. And Peso Pluma returns to the Bay Area (featuring rapper Alemán) with high expectations from fans following his performance at the \u003cem>MTV Video Music Awards\u003c/em> and the release of his latest album, \u003cem>Génesis\u003c/em>, that reached No. 1 in Billboard’s Latin Albums chart in one week.\u003c/p>\n\u003cp>Whether it’s your very first concert or your 50th, we have some tips that can help you prepare, get there and back safely and ensure you have fun at the Peso Pluma concert.\u003c/p>\n\u003cp>Keep reading, or jump straight to:\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#parkingSAPcenter\">Where can I find parking for SAP Center?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#SAPcenterbanneditems\">What’s the bag policy at SAP Center?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#tailgatepesopluma\">Can I tailgate the Peso Pluma concert?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#pesoplumapolice\">What will the police presence be like?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#pesoplumatickets\">Can I still buy Peso Pluma tickets?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>Wasn’t Peso Pluma’s performance in Tijuana recently canceled? Could that happen for the San José concert?\u003c/h2>\n\u003cp>You may have heard that \u003ca href=\"https://www.billboard.com/music/latin/peso-pluma-tijuana-mexico-concert-canceled-threats-1235417440/\">Peso Pluma’s Tijuana show — originally scheduled for Oct. 14 — was canceled\u003c/a> due to security concerns. Banners with threats against Peso showed up at several points in the Mexican city last month.\u003c/p>\n\u003cp>KQED asked Live Nation, which is in charge of putting on the San José concert, if there is the possibility that this Bay Area show would also be canceled. Live Nation staff have replied it is “very doubtful” that would happen, and that the show in San José is still scheduled to take place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>How can I get to SAP Center by car?\u003c/h2>\n\u003cp>If you’re driving from out of town, you have several options to get to downtown San José. If you’re coming from the San Francisco/Peninsula direction, both Highway 101 and the I-280 freeways (and El Camino Real, if you have a lot of time to spare) take you straight to the city’s center. If you’re coming in from the East Bay, you can take either the I-680 or the I-880.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#tellus\">Tell us: What else do you need an explainer on right now?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>According to Google Trends, \u003ca href=\"https://trends.google.com/trends/explore?date=today%201-m&geo=US-CA-807&q=peso%20pluma%20concert&hl=en\">places in the North Bay, including Santa Rosa and Larkspur, have shown some of the strongest interest for Peso’s concert.\u003c/a> If that’s where you’re coming from, the fastest option will likely be getting on the I-580, crossing the Richmond Bridge and then transferring on to I-880 that will take you straight to downtown San José.\u003c/p>\n\u003ch2>\u003ca id=\"parkingSAPcenter\">\u003c/a>Where can I find parking at SAP Center?\u003c/h2>\n\u003cp>One word: timing.\u003c/p>\n\u003cp>SAP Center has on-site parking at their ABC Lot but anyone who has been to a concert here knows that parking can fill up fast. “I’d just encourage everybody to arrive early,” says Jim Sparaco, director of public relations for SAP Center. “Most people like to arrive before the concert starts, but of course, that’s when everyone wants to arrive — and that can create longer lines.”\u003c/p>\n\u003cp>[aside postID=\"news_11959799\" hero=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/GettyImages-1258762861-1-1-1020x680.jpg\"]The show is scheduled to start at 8 p.m., and Sparaco recommends you get to SAP Center at least an hour before the concert begins. Concert tickets are usually not cheap, and if you want to make the most of the show, make sure you’re in your seat when it begins — not sitting in your car waiting for a parking spot.\u003c/p>\n\u003cp>You can also reserve parking ahead of time, either at the main ABC Lot or at another, nearby parking lot, using \u003ca href=\"https://sapcenter.parkmobile.io/\">the SAP Center’s parking reservation tool\u003c/a>. Reservations range from $25 to $35.\u003c/p>\n\u003cp>You can also try looking for street parking — but keep in mind that others will have the same idea, and you may have to walk 15–20 minutes from your car to the venue depending on how busy it gets. And check signs for any parking restrictions, as you don’t want to return to your car after the concert to find a hefty parking ticket.\u003c/p>\n\u003ch2>How can I get to SAP Center using public transit?\u003c/h2>\n\u003cp>You’re in luck: downtown San José is very well connected by several public transit agencies.\u003c/p>\n\u003cp>If you’re coming from the city’s Eastside, you can take the light rail VTA from Alum Rock station straight to San José-Diridon, which is only one block away from SAP Center.\u003c/p>\n\u003cp>Caltrain, which goes from San Francisco, all through San Mateo County, to the South Bay, also stops at San José-Diridon. Coming in from the East Bay? You can take BART and get off at Berryessa/North San José station and then get on a VTA bus, specifically the Rapid 500 bus line, which will quickly take you straight to SAP Center.\u003c/p>\n\u003cp>Keep in mind that public transportation in San José does not run the whole night and \u003ca href=\"https://www.vta.org/sites/default/files/route_schedule_pdfs/current/route_500/route_500_schedule.pdf\">the last Rapid 500 bus is scheduled to leave from the SAP Center area (from the Caltrain station) at 11:19 p.m. (PDF)\u003c/a> The \u003ca href=\"https://www.caltrain.com/schedules/pdfs\">last Caltrain leaves San José at 11:12 p.m. (PDF)\u003c/a> and the last BART out of Berryessa is scheduled for 11:48 p.m., headed towards Richmond.\u003c/p>\n\u003cp>In an email, VTA officials confirmed to KQED that the transit agency is not offering extra service for this concert. So if you’re getting home from the Peso Pluma concert by public transit, be very sure of when you need to get up from your seat and start heading out — you don’t want to be stranded.\u003c/p>\n\u003cfigure id=\"attachment_11963911\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11963911\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/10/GettyImages-1719835577-qut.jpg\" alt=\"A group of people perform on a blue and red toned stage, with red lighting cast on their faces and bodies, holding their arms in the air. Two men at the front hold microphones.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/GettyImages-1719835577-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/GettyImages-1719835577-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/GettyImages-1719835577-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/GettyImages-1719835577-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/GettyImages-1719835577-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma and Yng Lvcas perform onstage during the 2023 Billboard Latin Music Awards at Watsco Center on Oct. 5, 2023 in Coral Gables, Florida. \u003ccite>(Photo by Jason Koerner/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca id=\"SAPcenterbanneditems\">\u003c/a>Bag policy: What’s not allowed into SAP Center?\u003c/h2>\n\u003cp>\u003cstrong>No food.\u003c/strong>\u003c/p>\n\u003cp>Long-time San José residents know this well: Their city is \u003ca href=\"https://www.kqed.org/sanjosefood\">a treasure trove of delicious cuisine from all over the world\u003c/a>. And \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/san-jose-mexican-food-18167782.php\">the SR 408 is a particularly fantastic place to eat Sinaloa-style Mexican food\u003c/a> (fitting, as Peso Pluma has family in Sinaloa).\u003c/p>\n\u003cp>But if you’re thinking of grabbing some mariscos or aguachile before the concert, you will have to finish it before heading to the show as you are \u003cem>not\u003c/em> allowed to bring outside food into SAP Center.\u003c/p>\n\u003cp>\u003cstrong>No alcohol.\u003c/strong>\u003c/p>\n\u003cp>Nope, you won’t be allowed in with outside alcoholic beverages — so finish or throw away the michelada before you get to security. Cans, glass bottles and coolers are also not allowed in — doesn’t matter if they are open or closed. (Plastic bottles are fine, however, and you can refill your water bottle inside SAP Center.)\u003c/p>\n\u003cp>There are, however, several spots inside SAP Center where you can pick up a drink that you can enjoy at your seat. But lines get long, especially as the concert is starting, so that’s another reason to make it to the concert with extra time.\u003c/p>\n\u003cp>\u003cstrong>What kind of bag can I bring?\u003c/strong>\u003c/p>\n\u003cp>Let’s talk bags and purses. \u003ca href=\"https://www.sapcenter.com/plan-your-visit/bag-policy\">You do not need to bring a transparent bag to carry your things.\u003c/a> If your bag or clutch is smaller than 5 x 9 x 2 inches, you can pass through security without a problem.\u003c/p>\n\u003cp>But if your bag is bigger than that — including larger fanny packs or diaper bags — your bag may go through X-ray inspection.\u003c/p>\n\u003cp>There \u003cem>are\u003c/em> size limits, however. You can’t enter SAP Center with bags bigger than 20 x 14 x 11 inches (which is roughly similar to a medium-sized tote bag). So don’t try coming in with your backpack and ask to check it in as \u003ca href=\"https://www.sapcenter.com/plan-your-visit/bag-policy\">SAP Center no longer offers a bag check option or storage lockers onsite\u003c/a>.\u003c/p>\n\u003ch2>\u003ca id=\"tailgatepesopluma\">\u003c/a>Can I tailgate the Peso Pluma concert?\u003c/h2>\n\u003cp>If you didn’t get tickets but still want to organize something with your friends on your truck at a nearby parking lot, we got bad news: Informal tailgating is prohibited due to a San José city ordinance.\u003c/p>\n\u003cp>You may have heard that for the Taylor Swift concerts at Levi’s Stadium back in July fans were able to hear her singing from blocks away. But let’s keep it real: SAP Center is not an open-air stadium like Levi’s, and it can be pretty hard to hear what’s going on inside even from the main parking lot.\u003c/p>\n\u003cp>If you’re bummed that you won’t see Peso Pluma this time around, keep reading for \u003ca href=\"#pesoplumatickets\">other things to do during the concert weekend.\u003c/a>\u003c/p>\n\u003ch2>\u003ca id=\"pesoplumapolice\">\u003c/a>What will the police presence be like during and after the event?\u003c/h2>\n\u003cp>The San Jose Police Department did not accept KQED’s request for an interview for this story — and added in an email that they “do not comment on [their] planning or tactics when it comes to special event management.”\u003c/p>\n\u003cp>For its part, VTA did share with KQED that it is not planning for extra security on its buses and trains, other than the Sheriff’s Office Transit Patrol and the private security firm it regularly has on its system.[aside postID=\"news_11959477\" hero=\"https://ww2.kqed.org/app/uploads/sites/10/2023/08/081723-CAR-BREAK-IN-BIPPED-AV-KQED-1020x680.jpg\"]If you are invited to a sideshow after the concert, keep in mind that both the City of San José and SJPD are taking stronger measures to clamp down on sideshows. Mayor Matt Mahan has already asked Snapchat and Meta (which owns Instagram and Facebook) to \u003ca href=\"https://sanjosespotlight.com/san-jose-mayor-wants-tech-giants-meta-facebook-instagram-snapchat-tiktok-to-moderate-sideshow-content-street-racing/\">temporarily suspend accounts that post content promoting sideshows\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://sanjosespotlight.com/san-jose-considers-penalties-for-encouraging-sideshow-spectators/\">It’s already illegal in San José to post content on social media encouraging people to go to sideshows.\u003c/a> Doing so could cost you $1,000 and potentially up to six months in jail. Being a spectator is also illegal and \u003ca href=\"https://sanjose.legistar.com/View.ashx?M=F&ID=7173635&GUID=BBF0067B-9707-472B-95FB-4AFBDA1852F6\">you could still get in trouble even if you’re within 200 feet of the sideshow\u003c/a>.\u003c/p>\n\u003ch2>\u003ca id=\"pesoplumatickets\">\u003c/a>Can I still find tickets for Peso Pluma in San José?\u003c/h2>\n\u003cp>There are still tickets for Peso Pluma’s Oct. 13 show, as long as you’re down to buy them on resale. But on Ticketmaster, even a seat in some of the last rows of the last section could cost you more than $300. As for a floor seat? Expect to cough up more than $1,000.\u003c/p>\n\u003cp>You may also want to check out Facebook Marketplace or Stubhub. \u003ca href=\"https://abc7news.com/taylor-swift-scams-concert-tickets-better-business-bureau/13474055/\">The Better Business Bureau (BBB) issued a warning about resale scams\u003c/a>, with many people discovering after sending money through apps like Venmo or Zelle that these “tickets” never existed. Check out the person’s profile and their past posting history to see if it seems real. And \u003ca href=\"https://www.bbb.org/article/scams/28902-bbb-scam-alert-spot-the-scam-before-paying-big-bucks-for-taylor-swift-tickets\">if you do choose to buy a resale ticket, use your credit card\u003c/a>, says the BBB. This at least provides some protection for you if the deal was fake.[aside label='More guides from KQED' tag='audience-news']And \u003ca href=\"https://www.bbb.org/article/scams/28902-bbb-scam-alert-spot-the-scam-before-paying-big-bucks-for-taylor-swift-tickets\">if you’re in a large group chat and get a ticket offer from someone you know\u003c/a>, call this person directly — to make sure someone isn’t impersonating them online.\u003c/p>\n\u003cp>The website\u003ca href=\"https://aviewfrommyseat.com/venue/SAP+Center/seating/all/?photo_type=concert\"> a view from my seat\u003c/a> shares what fans who have gone to SAP Center already could see from where they sat. You can check out different sections in the arena to see what works best for you.\u003c/p>\n\u003cp>And can’t make it at all to the concert? No worries. You can definitely hear Peso’s music play throughout San José all weekend. The Ritz, a club in downtown, is already organizing \u003ca href=\"https://www.instagram.com/p/Cx1Wf29MTU-/\">a Peso Pluma night for Oct. 14, the day after the concert\u003c/a>. And Peso Pluma isn’t your only chance to hear corridos that put you in your feels in the Bay Area: Iván Cornejo has one show in San José on Oct. 25 and another one in Oakland on Oct. 26. Eslabon Armado will play at San Jose Civic on Nov. 3\u003c/p>\n\u003cp>\u003cem>This story includes reporting from KQED’s Nisa Khan and Paloma Abarca. An earlier version of this story originally published on October 10.\u003c/em>\u003c/p>\n\u003ch2>\u003ca id=\"tellus\">\u003c/a>Tell us: What else do you need information about?\u003c/h2>\n\u003cp>At KQED News, we know that it can sometimes be hard to track down the answers to navigate life in the Bay Area in 2023. We’ve published \u003ca href=\"https://www.kqed.org/news/tag/coronavirus-resources-and-explainers\">clear, practical explainers and guides about COVID\u003c/a>, \u003ca href=\"https://www.kqed.org/news/11936674/how-to-prepare-for-this-weeks-atmospheric-river-storm-sandbags-emergency-kits-and-more\">how to cope with intense winter weather\u003c/a> and \u003ca href=\"https://www.kqed.org/news/11821950/how-to-safely-attend-a-protest-in-the-bay-area\">how to exercise your right to protest safely\u003c/a>.\u003c/p>\n\u003cp>So tell us: What do you need to know more about? Tell us, and you could see your question answered online or on social media. What you submit will make our reporting stronger, and help us decide what to cover here on our site, and on KQED Public Radio, too.\u003c/p>\n\u003cp>[hearken id=\"10483\" src=\"https://modules.wearehearken.com/kqed/embed/10483.js\"]\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "If you're attending Peso Pluma's upcoming concert at SAP Center in San José, here's everything you need to know about getting there, parking, public transit and more.",
"status": "publish",
"parent": 0,
"modified": 1747674820,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": true,
"hasPolis": false,
"paragraphCount": 46,
"wordCount": 2389
},
"headData": {
"title": "Peso Pluma Concert: Parking, Schedule & What to Bring | KQED",
"description": "Get ready for Peso Pluma's performance at San José's SAP Center. Find out about parking options, concert schedule & what items you can bring to the venue.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"socialTitle": "Peso Pluma Concert: Parking, Schedule & What to Bring | KQED",
"socialDescription": "Get ready for Peso Pluma's performance at San José's SAP Center. Find out about parking options, concert schedule & what items you can bring to the venue.",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Heading to Peso Pluma’s San José Show? What to Know Before You Go",
"datePublished": "2023-10-13T08:00:39-07:00",
"dateModified": "2025-05-19T10:13:40-07:00",
"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,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/news/11963875/peso-pluma-san-jose-parking-schedule",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/news/11964064/peso-pluma-en-san-jose-estacionamiento-seguridad\">\u003cem>¿Buscas esta informacion en español? KQED en Español tiene lo que necesitas — haz clic aquí para leer nuestra cobertura bilingüe.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Peso Pluma — \u003ca href=\"https://www.billboard.com/music/features/peso-pluma-regional-mexican-cover-story-interview-1235370073/\">who topped global Billboard charts twice this summer\u003c/a> — is coming to the Bay Area. The \u003ca href=\"https://remezcla.com/music/julio-preciado-talks-about-corridos-tumbados-calls-them-cochinadas/\">corrido tumbado\u003c/a> superstar will perform at San José’s SAP Center on Friday, October 13.\u003c/p>\n\u003cp>October is shaping up to be a very exciting time in the Bay Area across the different genres of Latino music. Just this past weekend, Mexican pop band RBD played in both San Francisco and San José (\u003ca href=\"https://www.instagram.com/p/CyHG9znSxWj/\">KQED was at the San José show\u003c/a>), while bachata legend Romeo Santos performed at the Oakland Arena — and that’s without even mentioning the big-hitters that have already passed through this year, including Kali Uchis, Karol G and Maluma.\u003c/p>\n\u003cp>But regional Mexican music, in particular, is in the spotlight. Grupo Frontera joined Bad Bunny on Coachella’s main stage this year. At just 19, \u003ca href=\"https://www.youtube.com/watch?v=AynDvSkZ8og\">DannyLux performed for NPR’s\u003cem> Tiny Desk Concerts\u003c/em> last month\u003c/a>. And Peso Pluma returns to the Bay Area (featuring rapper Alemán) with high expectations from fans following his performance at the \u003cem>MTV Video Music Awards\u003c/em> and the release of his latest album, \u003cem>Génesis\u003c/em>, that reached No. 1 in Billboard’s Latin Albums chart in one week.\u003c/p>\n\u003cp>Whether it’s your very first concert or your 50th, we have some tips that can help you prepare, get there and back safely and ensure you have fun at the Peso Pluma concert.\u003c/p>\n\u003cp>Keep reading, or jump straight to:\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#parkingSAPcenter\">Where can I find parking for SAP Center?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#SAPcenterbanneditems\">What’s the bag policy at SAP Center?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#tailgatepesopluma\">Can I tailgate the Peso Pluma concert?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#pesoplumapolice\">What will the police presence be like?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#pesoplumatickets\">Can I still buy Peso Pluma tickets?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003ch2>Wasn’t Peso Pluma’s performance in Tijuana recently canceled? Could that happen for the San José concert?\u003c/h2>\n\u003cp>You may have heard that \u003ca href=\"https://www.billboard.com/music/latin/peso-pluma-tijuana-mexico-concert-canceled-threats-1235417440/\">Peso Pluma’s Tijuana show — originally scheduled for Oct. 14 — was canceled\u003c/a> due to security concerns. Banners with threats against Peso showed up at several points in the Mexican city last month.\u003c/p>\n\u003cp>KQED asked Live Nation, which is in charge of putting on the San José concert, if there is the possibility that this Bay Area show would also be canceled. Live Nation staff have replied it is “very doubtful” that would happen, and that the show in San José is still scheduled to take place.\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\u003ch2>How can I get to SAP Center by car?\u003c/h2>\n\u003cp>If you’re driving from out of town, you have several options to get to downtown San José. If you’re coming from the San Francisco/Peninsula direction, both Highway 101 and the I-280 freeways (and El Camino Real, if you have a lot of time to spare) take you straight to the city’s center. If you’re coming in from the East Bay, you can take either the I-680 or the I-880.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#tellus\">Tell us: What else do you need an explainer on right now?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>According to Google Trends, \u003ca href=\"https://trends.google.com/trends/explore?date=today%201-m&geo=US-CA-807&q=peso%20pluma%20concert&hl=en\">places in the North Bay, including Santa Rosa and Larkspur, have shown some of the strongest interest for Peso’s concert.\u003c/a> If that’s where you’re coming from, the fastest option will likely be getting on the I-580, crossing the Richmond Bridge and then transferring on to I-880 that will take you straight to downtown San José.\u003c/p>\n\u003ch2>\u003ca id=\"parkingSAPcenter\">\u003c/a>Where can I find parking at SAP Center?\u003c/h2>\n\u003cp>One word: timing.\u003c/p>\n\u003cp>SAP Center has on-site parking at their ABC Lot but anyone who has been to a concert here knows that parking can fill up fast. “I’d just encourage everybody to arrive early,” says Jim Sparaco, director of public relations for SAP Center. “Most people like to arrive before the concert starts, but of course, that’s when everyone wants to arrive — and that can create longer lines.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11959799",
"hero": "https://ww2.kqed.org/app/uploads/sites/10/2023/08/GettyImages-1258762861-1-1-1020x680.jpg",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The show is scheduled to start at 8 p.m., and Sparaco recommends you get to SAP Center at least an hour before the concert begins. Concert tickets are usually not cheap, and if you want to make the most of the show, make sure you’re in your seat when it begins — not sitting in your car waiting for a parking spot.\u003c/p>\n\u003cp>You can also reserve parking ahead of time, either at the main ABC Lot or at another, nearby parking lot, using \u003ca href=\"https://sapcenter.parkmobile.io/\">the SAP Center’s parking reservation tool\u003c/a>. Reservations range from $25 to $35.\u003c/p>\n\u003cp>You can also try looking for street parking — but keep in mind that others will have the same idea, and you may have to walk 15–20 minutes from your car to the venue depending on how busy it gets. And check signs for any parking restrictions, as you don’t want to return to your car after the concert to find a hefty parking ticket.\u003c/p>\n\u003ch2>How can I get to SAP Center using public transit?\u003c/h2>\n\u003cp>You’re in luck: downtown San José is very well connected by several public transit agencies.\u003c/p>\n\u003cp>If you’re coming from the city’s Eastside, you can take the light rail VTA from Alum Rock station straight to San José-Diridon, which is only one block away from SAP Center.\u003c/p>\n\u003cp>Caltrain, which goes from San Francisco, all through San Mateo County, to the South Bay, also stops at San José-Diridon. Coming in from the East Bay? You can take BART and get off at Berryessa/North San José station and then get on a VTA bus, specifically the Rapid 500 bus line, which will quickly take you straight to SAP Center.\u003c/p>\n\u003cp>Keep in mind that public transportation in San José does not run the whole night and \u003ca href=\"https://www.vta.org/sites/default/files/route_schedule_pdfs/current/route_500/route_500_schedule.pdf\">the last Rapid 500 bus is scheduled to leave from the SAP Center area (from the Caltrain station) at 11:19 p.m. (PDF)\u003c/a> The \u003ca href=\"https://www.caltrain.com/schedules/pdfs\">last Caltrain leaves San José at 11:12 p.m. (PDF)\u003c/a> and the last BART out of Berryessa is scheduled for 11:48 p.m., headed towards Richmond.\u003c/p>\n\u003cp>In an email, VTA officials confirmed to KQED that the transit agency is not offering extra service for this concert. So if you’re getting home from the Peso Pluma concert by public transit, be very sure of when you need to get up from your seat and start heading out — you don’t want to be stranded.\u003c/p>\n\u003cfigure id=\"attachment_11963911\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11963911\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/10/GettyImages-1719835577-qut.jpg\" alt=\"A group of people perform on a blue and red toned stage, with red lighting cast on their faces and bodies, holding their arms in the air. Two men at the front hold microphones.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/GettyImages-1719835577-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/GettyImages-1719835577-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/GettyImages-1719835577-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/GettyImages-1719835577-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/GettyImages-1719835577-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma and Yng Lvcas perform onstage during the 2023 Billboard Latin Music Awards at Watsco Center on Oct. 5, 2023 in Coral Gables, Florida. \u003ccite>(Photo by Jason Koerner/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca id=\"SAPcenterbanneditems\">\u003c/a>Bag policy: What’s not allowed into SAP Center?\u003c/h2>\n\u003cp>\u003cstrong>No food.\u003c/strong>\u003c/p>\n\u003cp>Long-time San José residents know this well: Their city is \u003ca href=\"https://www.kqed.org/sanjosefood\">a treasure trove of delicious cuisine from all over the world\u003c/a>. And \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/san-jose-mexican-food-18167782.php\">the SR 408 is a particularly fantastic place to eat Sinaloa-style Mexican food\u003c/a> (fitting, as Peso Pluma has family in Sinaloa).\u003c/p>\n\u003cp>But if you’re thinking of grabbing some mariscos or aguachile before the concert, you will have to finish it before heading to the show as you are \u003cem>not\u003c/em> allowed to bring outside food into SAP Center.\u003c/p>\n\u003cp>\u003cstrong>No alcohol.\u003c/strong>\u003c/p>\n\u003cp>Nope, you won’t be allowed in with outside alcoholic beverages — so finish or throw away the michelada before you get to security. Cans, glass bottles and coolers are also not allowed in — doesn’t matter if they are open or closed. (Plastic bottles are fine, however, and you can refill your water bottle inside SAP Center.)\u003c/p>\n\u003cp>There are, however, several spots inside SAP Center where you can pick up a drink that you can enjoy at your seat. But lines get long, especially as the concert is starting, so that’s another reason to make it to the concert with extra time.\u003c/p>\n\u003cp>\u003cstrong>What kind of bag can I bring?\u003c/strong>\u003c/p>\n\u003cp>Let’s talk bags and purses. \u003ca href=\"https://www.sapcenter.com/plan-your-visit/bag-policy\">You do not need to bring a transparent bag to carry your things.\u003c/a> If your bag or clutch is smaller than 5 x 9 x 2 inches, you can pass through security without a problem.\u003c/p>\n\u003cp>But if your bag is bigger than that — including larger fanny packs or diaper bags — your bag may go through X-ray inspection.\u003c/p>\n\u003cp>There \u003cem>are\u003c/em> size limits, however. You can’t enter SAP Center with bags bigger than 20 x 14 x 11 inches (which is roughly similar to a medium-sized tote bag). So don’t try coming in with your backpack and ask to check it in as \u003ca href=\"https://www.sapcenter.com/plan-your-visit/bag-policy\">SAP Center no longer offers a bag check option or storage lockers onsite\u003c/a>.\u003c/p>\n\u003ch2>\u003ca id=\"tailgatepesopluma\">\u003c/a>Can I tailgate the Peso Pluma concert?\u003c/h2>\n\u003cp>If you didn’t get tickets but still want to organize something with your friends on your truck at a nearby parking lot, we got bad news: Informal tailgating is prohibited due to a San José city ordinance.\u003c/p>\n\u003cp>You may have heard that for the Taylor Swift concerts at Levi’s Stadium back in July fans were able to hear her singing from blocks away. But let’s keep it real: SAP Center is not an open-air stadium like Levi’s, and it can be pretty hard to hear what’s going on inside even from the main parking lot.\u003c/p>\n\u003cp>If you’re bummed that you won’t see Peso Pluma this time around, keep reading for \u003ca href=\"#pesoplumatickets\">other things to do during the concert weekend.\u003c/a>\u003c/p>\n\u003ch2>\u003ca id=\"pesoplumapolice\">\u003c/a>What will the police presence be like during and after the event?\u003c/h2>\n\u003cp>The San Jose Police Department did not accept KQED’s request for an interview for this story — and added in an email that they “do not comment on [their] planning or tactics when it comes to special event management.”\u003c/p>\n\u003cp>For its part, VTA did share with KQED that it is not planning for extra security on its buses and trains, other than the Sheriff’s Office Transit Patrol and the private security firm it regularly has on its system.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11959477",
"hero": "https://ww2.kqed.org/app/uploads/sites/10/2023/08/081723-CAR-BREAK-IN-BIPPED-AV-KQED-1020x680.jpg",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>If you are invited to a sideshow after the concert, keep in mind that both the City of San José and SJPD are taking stronger measures to clamp down on sideshows. Mayor Matt Mahan has already asked Snapchat and Meta (which owns Instagram and Facebook) to \u003ca href=\"https://sanjosespotlight.com/san-jose-mayor-wants-tech-giants-meta-facebook-instagram-snapchat-tiktok-to-moderate-sideshow-content-street-racing/\">temporarily suspend accounts that post content promoting sideshows\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://sanjosespotlight.com/san-jose-considers-penalties-for-encouraging-sideshow-spectators/\">It’s already illegal in San José to post content on social media encouraging people to go to sideshows.\u003c/a> Doing so could cost you $1,000 and potentially up to six months in jail. Being a spectator is also illegal and \u003ca href=\"https://sanjose.legistar.com/View.ashx?M=F&ID=7173635&GUID=BBF0067B-9707-472B-95FB-4AFBDA1852F6\">you could still get in trouble even if you’re within 200 feet of the sideshow\u003c/a>.\u003c/p>\n\u003ch2>\u003ca id=\"pesoplumatickets\">\u003c/a>Can I still find tickets for Peso Pluma in San José?\u003c/h2>\n\u003cp>There are still tickets for Peso Pluma’s Oct. 13 show, as long as you’re down to buy them on resale. But on Ticketmaster, even a seat in some of the last rows of the last section could cost you more than $300. As for a floor seat? Expect to cough up more than $1,000.\u003c/p>\n\u003cp>You may also want to check out Facebook Marketplace or Stubhub. \u003ca href=\"https://abc7news.com/taylor-swift-scams-concert-tickets-better-business-bureau/13474055/\">The Better Business Bureau (BBB) issued a warning about resale scams\u003c/a>, with many people discovering after sending money through apps like Venmo or Zelle that these “tickets” never existed. Check out the person’s profile and their past posting history to see if it seems real. And \u003ca href=\"https://www.bbb.org/article/scams/28902-bbb-scam-alert-spot-the-scam-before-paying-big-bucks-for-taylor-swift-tickets\">if you do choose to buy a resale ticket, use your credit card\u003c/a>, says the BBB. This at least provides some protection for you if the deal was fake.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"label": "More guides from KQED ",
"tag": "audience-news"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>And \u003ca href=\"https://www.bbb.org/article/scams/28902-bbb-scam-alert-spot-the-scam-before-paying-big-bucks-for-taylor-swift-tickets\">if you’re in a large group chat and get a ticket offer from someone you know\u003c/a>, call this person directly — to make sure someone isn’t impersonating them online.\u003c/p>\n\u003cp>The website\u003ca href=\"https://aviewfrommyseat.com/venue/SAP+Center/seating/all/?photo_type=concert\"> a view from my seat\u003c/a> shares what fans who have gone to SAP Center already could see from where they sat. You can check out different sections in the arena to see what works best for you.\u003c/p>\n\u003cp>And can’t make it at all to the concert? No worries. You can definitely hear Peso’s music play throughout San José all weekend. The Ritz, a club in downtown, is already organizing \u003ca href=\"https://www.instagram.com/p/Cx1Wf29MTU-/\">a Peso Pluma night for Oct. 14, the day after the concert\u003c/a>. And Peso Pluma isn’t your only chance to hear corridos that put you in your feels in the Bay Area: Iván Cornejo has one show in San José on Oct. 25 and another one in Oakland on Oct. 26. Eslabon Armado will play at San Jose Civic on Nov. 3\u003c/p>\n\u003cp>\u003cem>This story includes reporting from KQED’s Nisa Khan and Paloma Abarca. An earlier version of this story originally published on October 10.\u003c/em>\u003c/p>\n\u003ch2>\u003ca id=\"tellus\">\u003c/a>Tell us: What else do you need information about?\u003c/h2>\n\u003cp>At KQED News, we know that it can sometimes be hard to track down the answers to navigate life in the Bay Area in 2023. We’ve published \u003ca href=\"https://www.kqed.org/news/tag/coronavirus-resources-and-explainers\">clear, practical explainers and guides about COVID\u003c/a>, \u003ca href=\"https://www.kqed.org/news/11936674/how-to-prepare-for-this-weeks-atmospheric-river-storm-sandbags-emergency-kits-and-more\">how to cope with intense winter weather\u003c/a> and \u003ca href=\"https://www.kqed.org/news/11821950/how-to-safely-attend-a-protest-in-the-bay-area\">how to exercise your right to protest safely\u003c/a>.\u003c/p>\n\u003cp>So tell us: What do you need to know more about? Tell us, and you could see your question answered online or on social media. What you submit will make our reporting stronger, and help us decide what to cover here on our site, and on KQED Public Radio, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "hearken",
"attributes": {
"named": {
"id": "10483",
"src": "https://modules.wearehearken.com/kqed/embed/10483.js",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11963875/peso-pluma-san-jose-parking-schedule",
"authors": [
"11708"
],
"categories": [
"news_8"
],
"tags": [
"news_32707",
"news_26702",
"news_29283",
"news_1425",
"news_33308"
],
"featImg": "news_11963879",
"label": "news"
},
"news_11963037": {
"type": "posts",
"id": "news_11963037",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11963037",
"score": null,
"sort": [
1696203030000
]
},
"guestAuthors": [],
"slug": "corner-club-when-i-die",
"title": "corner club: 'when i die'",
"publishDate": 1696203030,
"format": "audio",
"headTitle": "corner club: ‘when i die’ | KQED",
"labelTerm": {},
"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Sav Du and Mike Zhang were next door neighbors in New York when they decided to move to San Francisco as housemates and creative collaborators.\u003c/p>\n\u003cp>The duo describe their genre as indie pop, writing songs about their experiences being “corner people” who like to people-watch, away from the center of attention in the room.\u003c/p>\n\u003cp>“I like to ask people, ‘If you’re at a party, where in the room are you?'” Du said. “For Mike and myself, we’re either in the corners, hence ‘corner club,’ or we’re standing, hovering over the snack table, doing a lot of people watching, listening, observing.”\u003c/p>\n\u003cp>They are also inspired by found sounds in their travels and environment, like Du’s memories of falling asleep to the sound of crickets growing up in suburban Maryland. “That’s a very particular experience that means something to me and hopefully could mean something to someone else as well,” she said. “I think there’s a really kind of nostalgic emotion that you can convey if you take a sound from a specific place.”\u003c/p>\n\u003cp>The duo’s songwriting process begins in one of two ways: either jamming together with Zhang playing the guitar riffs, or Du writing melodies on piano. They then workshop the songs together. “It’s a lot of feedback between the two of us,” said Du. “We’re housemates, we’re really close friends, we’re bandmates, and so everything we make really kind of interacts with each other.”\u003c/p>\n\u003cp>corner club describes their upcoming EP, \u003cem>in the rearview mirror\u003c/em>, as a reflection back on recent events. “when i die” was written after Du’s grandmother passed away.\u003c/p>\n\u003cp>“My mom had said, ‘When I die, scatter my ashes, but not too close to the sea, because I can’t swim,’ which are the opening lines of the song. At the time it was just such a whimsical, out of pocket thing to say about your own death,” Du said. But the sentiment inspired her to reflect on the freedom after death and the importance of appreciating what you have today.\u003c/p>\n\u003cp>Du and Zhang made the music video for “when i die,” featuring their friends and family from across the country, with that goal in mind.\u003c/p>\n\u003cp>https://youtu.be/dxnbXfuXsm4?si=DWAhIWI584MQd6Cq\u003c/p>\n\u003cp>corner club will be \u003ca href=\"https://cafedunord.com/event/13607668/corner-club-with-jolene-lozano/\">performing at Cafe du Nord on October 6 at 8:30 pm\u003c/a>. Listen to their music on \u003ca href=\"https://open.spotify.com/artist/3bNfFxC4i5CNV3OMWTj2PJ?si=qcySKMc9RSeP9eycwWPX5g&nd=1\">Spotify\u003c/a> or \u003ca href=\"https://music.apple.com/us/artist/corner-club/1443439015\">Apple Music\u003c/a>, and follow them on Instagram at \u003ca href=\"https://www.instagram.com/cornerclubofficial/?hl=en\">@cornerclubofficial\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "The duo describe themselves as indie pop, writing songs about their experiences being 'corner people' who like to people watch.",
"status": "publish",
"parent": 0,
"modified": 1727137095,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 492
},
"headData": {
"title": "corner club: 'when i die' | KQED",
"description": "The duo describe themselves as indie pop, writing songs about their experiences being 'corner people' who like to people watch.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "corner club: 'when i die'",
"datePublished": "2023-10-01T16:30:30-07:00",
"dateModified": "2024-09-23T17:18:15-07:00",
"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": "Sunday Music Drop",
"sourceUrl": "https://www.kqed.org/sundaymusicdrop",
"audioUrl": "https://ww2.kqed.org/app/uploads/sites/10/2023/10/SMD_Corner-Club_230101-.mp3",
"sticky": false,
"WpOldSlug": "corner-club-dreaming",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/news/11963037/corner-club-when-i-die",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Sav Du and Mike Zhang were next door neighbors in New York when they decided to move to San Francisco as housemates and creative collaborators.\u003c/p>\n\u003cp>The duo describe their genre as indie pop, writing songs about their experiences being “corner people” who like to people-watch, away from the center of attention in the room.\u003c/p>\n\u003cp>“I like to ask people, ‘If you’re at a party, where in the room are you?'” Du said. “For Mike and myself, we’re either in the corners, hence ‘corner club,’ or we’re standing, hovering over the snack table, doing a lot of people watching, listening, observing.”\u003c/p>\n\u003cp>They are also inspired by found sounds in their travels and environment, like Du’s memories of falling asleep to the sound of crickets growing up in suburban Maryland. “That’s a very particular experience that means something to me and hopefully could mean something to someone else as well,” she said. “I think there’s a really kind of nostalgic emotion that you can convey if you take a sound from a specific place.”\u003c/p>\n\u003cp>The duo’s songwriting process begins in one of two ways: either jamming together with Zhang playing the guitar riffs, or Du writing melodies on piano. They then workshop the songs together. “It’s a lot of feedback between the two of us,” said Du. “We’re housemates, we’re really close friends, we’re bandmates, and so everything we make really kind of interacts with each other.”\u003c/p>\n\u003cp>corner club describes their upcoming EP, \u003cem>in the rearview mirror\u003c/em>, as a reflection back on recent events. “when i die” was written after Du’s grandmother passed away.\u003c/p>\n\u003cp>“My mom had said, ‘When I die, scatter my ashes, but not too close to the sea, because I can’t swim,’ which are the opening lines of the song. At the time it was just such a whimsical, out of pocket thing to say about your own death,” Du said. But the sentiment inspired her to reflect on the freedom after death and the importance of appreciating what you have today.\u003c/p>\n\u003cp>Du and Zhang made the music video for “when i die,” featuring their friends and family from across the country, with that goal in mind.\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/dxnbXfuXsm4'\n title='//www.youtube.com/embed/dxnbXfuXsm4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>corner club will be \u003ca href=\"https://cafedunord.com/event/13607668/corner-club-with-jolene-lozano/\">performing at Cafe du Nord on October 6 at 8:30 pm\u003c/a>. Listen to their music on \u003ca href=\"https://open.spotify.com/artist/3bNfFxC4i5CNV3OMWTj2PJ?si=qcySKMc9RSeP9eycwWPX5g&nd=1\">Spotify\u003c/a> or \u003ca href=\"https://music.apple.com/us/artist/corner-club/1443439015\">Apple Music\u003c/a>, and follow them on Instagram at \u003ca href=\"https://www.instagram.com/cornerclubofficial/?hl=en\">@cornerclubofficial\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11963037/corner-club-when-i-die",
"authors": [
"11503"
],
"programs": [
"news_34370"
],
"categories": [
"news_29992",
"news_223",
"news_8",
"news_33520"
],
"tags": [
"news_1425",
"news_31662",
"news_31663"
],
"featImg": "news_11963041",
"label": "source_news_11963037"
}
},
"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": 72,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 259,
"relation": "eq"
},
"items": [
"news_11977219",
"news_11976698",
"news_11975375",
"news_11974827",
"news_11974003",
"news_11968911",
"news_11967943",
"news_11967317",
"news_11966749",
"news_11966475",
"news_11963875",
"news_11963037"
],
"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_11975375": {
"type": "terms",
"id": "source_news_11975375",
"meta": {
"override": true
},
"name": "Sunday Music Drop",
"link": "https://www.kqed.org/sundaymusicdrop",
"isLoading": false
},
"source_news_11968911": {
"type": "terms",
"id": "source_news_11968911",
"meta": {
"override": true
},
"name": "sunday music drop",
"link": "https://www.kqed.org/sundaymusicdrop",
"isLoading": false
},
"source_news_11967317": {
"type": "terms",
"id": "source_news_11967317",
"meta": {
"override": true
},
"name": "The Bay",
"link": "https://www.kqed.org/podcasts/thebay",
"isLoading": false
},
"source_news_11966475": {
"type": "terms",
"id": "source_news_11966475",
"meta": {
"override": true
},
"name": "Sunday Music Drop",
"link": "https://www.kqed.org/sundaymusicdrop",
"isLoading": false
},
"source_news_11963037": {
"type": "terms",
"id": "source_news_11963037",
"meta": {
"override": true
},
"name": "Sunday Music Drop",
"link": "https://www.kqed.org/sundaymusicdrop",
"isLoading": false
},
"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_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_32662": {
"type": "terms",
"id": "news_32662",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "32662",
"found": true
},
"relationships": {},
"featImg": null,
"name": "arts and culture",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "arts and culture Archives | KQED News",
"ogDescription": null
},
"ttid": 32679,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/news/tag/arts-and-culture"
},
"news_32707": {
"type": "terms",
"id": "news_32707",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "32707",
"found": true
},
"relationships": {},
"featImg": null,
"name": "audience-news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "audience-news Archives | KQED News",
"ogDescription": null
},
"ttid": 32724,
"slug": "audience-news",
"isLoading": false,
"link": "/news/tag/audience-news"
},
"news_3772": {
"type": "terms",
"id": "news_3772",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "3772",
"found": true
},
"relationships": {},
"featImg": null,
"name": "concert",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "concert Archives | KQED News",
"ogDescription": null
},
"ttid": 3790,
"slug": "concert",
"isLoading": false,
"link": "/news/tag/concert"
},
"news_27626": {
"type": "terms",
"id": "news_27626",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "27626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-news Archives | KQED News",
"ogDescription": null
},
"ttid": 27643,
"slug": "featured-news",
"isLoading": false,
"link": "/news/tag/featured-news"
},
"news_26589": {
"type": "terms",
"id": "news_26589",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "26589",
"found": true
},
"relationships": {},
"featImg": null,
"name": "chase center",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "chase center Archives | KQED News",
"ogDescription": null
},
"ttid": 26606,
"slug": "chase-center",
"isLoading": false,
"link": "/news/tag/chase-center"
},
"news_30924": {
"type": "terms",
"id": "news_30924",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "30924",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED News",
"ogDescription": null
},
"ttid": 30941,
"slug": "featured-arts",
"isLoading": false,
"link": "/news/tag/featured-arts"
},
"news_34370": {
"type": "terms",
"id": "news_34370",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "34370",
"found": true
},
"relationships": {},
"name": "Sunday Music Drop",
"slug": "sunday-music-drop",
"taxonomy": "program",
"description": "\u003cdiv id=\"message-list_1746471329.235059\" class=\"c-virtual_list__item\" role=\"listitem\" data-qa=\"virtual-list-item\" data-item-key=\"1746471329.235059\">\r\n\u003cdiv class=\"c-message_kit__background c-message_kit__background--hovered p-message_pane_message__message c-message_kit__message\" role=\"presentation\" data-qa=\"message_container\" data-qa-unprocessed=\"false\" data-qa-placeholder=\"false\">\r\n\u003cdiv class=\"c-message_kit__hover c-message_kit__hover--hovered\" role=\"document\" data-qa-hover=\"true\">\r\n\u003cdiv class=\"c-message_kit__actions c-message_kit__actions--default\">\r\n\u003cdiv class=\"c-message_kit__gutter\">\r\n\u003cdiv class=\"c-message_kit__gutter__right\" role=\"presentation\" data-qa=\"message_content\">\r\n\u003cdiv class=\"c-message_kit__blocks c-message_kit__blocks--rich_text\">\r\n\u003cdiv class=\"c-message__message_blocks c-message__message_blocks--rich_text\" data-qa=\"message-text\">\r\n\u003cdiv class=\"p-block_kit_renderer\" data-qa=\"block-kit-renderer\">\r\n\u003cdiv class=\"p-block_kit_renderer__block_wrapper p-block_kit_renderer__block_wrapper--first\">\r\n\u003cdiv class=\"p-rich_text_block\" dir=\"auto\">\r\n\u003cdiv class=\"p-rich_text_section\">The Sunday Music Drop is a weekly radio series hosted by the KQED News team that airs on Sunday evenings. In each segment, we feature a song from a local musician with an upcoming show or new song and hear about what inspires their music. Do you or somebody you know want to be featured? Fill out \u003ca class=\"c-link\" href=\"https://docs.google.com/forms/d/e/1FAIpQLSeaF8UqQVzcPqHf1yTwFoWwdHjn59CJErrGf9KHQ_W3acjMfQ/viewform?usp=header\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://docs.google.com/forms/d/e/1FAIpQLSeaF8UqQVzcPqHf1yTwFoWwdHjn59CJErrGf9KHQ_W3acjMfQ/viewform?usp=header\" data-sk=\"tooltip_parent\">this form\u003c/a> and our team will contact you if it’s a good fit!\u003c/div>\r\n\u003c/div>\r\n\u003c/div>\r\n\u003c/div>\r\n\u003c/div>\r\n\u003c/div>\r\n\u003c/div>\r\n\u003c/div>\r\n\u003c/div>\r\n\u003c/div>\r\n\u003c/div>\r\n\u003c/div>",
"featImg": null,
"headData": {
"title": "Sunday Music Drop | KQED News",
"description": "The Sunday Music Drop is a weekly radio series hosted by the KQED News team that airs on Sunday evenings. In each segment, we feature a song from a local musician with an upcoming show or new song and hear about what inspires their music. Do you or somebody you know want to be featured? Fill out this form and our team will contact you if it’s a good fit!",
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 34387,
"isLoading": false,
"link": "/news/program/sunday-music-drop"
},
"news_33520": {
"type": "terms",
"id": "news_33520",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "33520",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Podcast",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Podcast Archives | KQED News",
"ogDescription": null
},
"ttid": 33537,
"slug": "podcast",
"isLoading": false,
"link": "/news/category/podcast"
},
"news_31662": {
"type": "terms",
"id": "news_31662",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "31662",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sunday Music Drop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sunday Music Drop Archives | KQED News",
"ogDescription": null
},
"ttid": 31679,
"slug": "sunday-music-drop",
"isLoading": false,
"link": "/news/tag/sunday-music-drop"
},
"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_26731": {
"type": "terms",
"id": "news_26731",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "26731",
"found": true
},
"relationships": {},
"featImg": null,
"name": "The California Report Magazine",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The California Report Magazine Archives | KQED News",
"ogDescription": null
},
"ttid": 26748,
"slug": "the-california-report-magazine",
"isLoading": false,
"link": "/news/program/the-california-report-magazine"
},
"news_29825": {
"type": "terms",
"id": "news_29825",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "29825",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hidden Gems",
"description": null,
"taxonomy": "series",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Hidden Gems Archives | KQED News",
"ogDescription": null
},
"ttid": 29842,
"slug": "hidden-gems",
"isLoading": false,
"link": "/news/series/hidden-gems"
},
"news_1202": {
"type": "terms",
"id": "news_1202",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "1202",
"found": true
},
"relationships": {},
"featImg": null,
"name": "cars",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "cars Archives | KQED News",
"ogDescription": null
},
"ttid": 1214,
"slug": "cars",
"isLoading": false,
"link": "/news/tag/cars"
},
"news_19623": {
"type": "terms",
"id": "news_19623",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "19623",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2016/07/Ten-Commandments.jpg",
"name": "Hidden Gems",
"description": "A roller skating rink in a church, a Prohibition-era bowling alley, and a movie set tucked into dunes along the Central Coast. We’ve put together a list of hidden gems in California. ",
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "A roller skating rink in a church, a Prohibition-era bowling alley, and a movie set tucked into dunes along the Central Coast. We’ve put together a list of hidden gems in California.",
"title": "Hidden Gems Archives | KQED News",
"ogDescription": null
},
"ttid": 19640,
"slug": "hidden-gems",
"isLoading": false,
"link": "/news/tag/hidden-gems"
},
"news_20732": {
"type": "terms",
"id": "news_20732",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "20732",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mojave Desert",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mojave Desert Archives | KQED News",
"ogDescription": null
},
"ttid": 20749,
"slug": "mojave-desert",
"isLoading": false,
"link": "/news/tag/mojave-desert"
},
"news_20257": {
"type": "terms",
"id": "news_20257",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "20257",
"found": true
},
"relationships": {},
"featImg": null,
"name": "art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "art Archives | KQED News",
"ogDescription": null
},
"ttid": 20274,
"slug": "art",
"isLoading": false,
"link": "/news/tag/art"
},
"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_333": {
"type": "terms",
"id": "news_333",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "333",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Food",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Food Archives | KQED News",
"ogDescription": null
},
"ttid": 341,
"slug": "food",
"isLoading": false,
"link": "/news/tag/food"
},
"news_29992": {
"type": "terms",
"id": "news_29992",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "29992",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED News",
"ogDescription": null
},
"ttid": 30009,
"slug": "arts",
"isLoading": false,
"link": "/news/category/arts"
},
"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_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_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_4": {
"type": "terms",
"id": "news_4",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "4",
"found": true
},
"relationships": {},
"featImg": null,
"name": "los angeles",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "los angeles Archives | KQED News",
"ogDescription": null
},
"ttid": 4,
"slug": "los-angeles",
"isLoading": false,
"link": "/news/tag/los-angeles"
},
"news_32948": {
"type": "terms",
"id": "news_32948",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "32948",
"found": true
},
"relationships": {},
"name": "music programs",
"slug": "music-programs",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "music programs | KQED News",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null,
"metaRobotsNoIndex": "noindex"
},
"ttid": 32965,
"isLoading": false,
"link": "/news/tag/music-programs"
},
"news_28779": {
"type": "terms",
"id": "news_28779",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "28779",
"found": true
},
"relationships": {},
"featImg": null,
"name": "The Bay",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "The Bay is a daily news and culture program from KQED that covers the latest headlines, trends, and stories that matter to the Bay Area.",
"title": "The Bay Area Archives | KQED",
"ogDescription": null
},
"ttid": 28796,
"slug": "the-bay",
"isLoading": false,
"link": "/news/program/the-bay"
},
"news_18269": {
"type": "terms",
"id": "news_18269",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "18269",
"found": true
},
"relationships": {},
"featImg": null,
"name": "farmworkers",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "farmworkers Archives | KQED News",
"ogDescription": null
},
"ttid": 18303,
"slug": "farmworkers",
"isLoading": false,
"link": "/news/tag/farmworkers"
},
"news_1164": {
"type": "terms",
"id": "news_1164",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "1164",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Half Moon Bay",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Half Moon Bay Archives | KQED News",
"ogDescription": null
},
"ttid": 1175,
"slug": "half-moon-bay",
"isLoading": false,
"link": "/news/tag/half-moon-bay"
},
"news_22598": {
"type": "terms",
"id": "news_22598",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "22598",
"found": true
},
"relationships": {},
"featImg": null,
"name": "The Bay",
"description": "\u003cimg class=\"alignnone size-medium wp-image-11638190\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/02/TheBay_1200x6301.png\" alt=\"\" />\r\n\u003cbr/>\r\n\r\nEvery good story starts local. So that’s where we start. \u003ci>The Bay\u003c/i> is storytelling for daily news. KQED host Devin Katayama talks with reporters to help us make sense of what’s happening in the Bay Area. One story. One conversation. One idea.\r\n\r\n\u003cstrong>Subscribe to The Bay:\u003c/strong>\r\n\r\n\u003ca href=\"https://itunes.apple.com/us/podcast/the-bay/id1350043452?mt=2\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/Listen_on_Apple_Podcasts_sRGB_US-e1515635079510.png\" />\u003c/a>",
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Every good story starts local. So that’s where we start. The Bay is storytelling for daily news. KQED host Devin Katayama talks with reporters to help us make sense of what’s happening in the Bay Area. One story. One conversation. One idea. Subscribe to The Bay:",
"title": "The Bay Archives | KQED News",
"ogDescription": null
},
"ttid": 22615,
"slug": "the-bay",
"isLoading": false,
"link": "/news/tag/the-bay"
},
"news_2138": {
"type": "terms",
"id": "news_2138",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "2138",
"found": true
},
"relationships": {},
"featImg": null,
"name": "trauma",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "trauma Archives | KQED News",
"ogDescription": null
},
"ttid": 2153,
"slug": "trauma",
"isLoading": false,
"link": "/news/tag/trauma"
},
"news_33523": {
"type": "terms",
"id": "news_33523",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "33523",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Bay Curious",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Bay Curious Archives | KQED News",
"ogDescription": null
},
"ttid": 33540,
"slug": "bay-curious",
"isLoading": false,
"link": "/news/program/bay-curious"
},
"news_17986": {
"type": "terms",
"id": "news_17986",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17986",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2016/11/BayCuriousLogoFinal01-e1493662037229.png",
"name": "Bay Curious",
"description": "\u003ch2>A podcast exploring the Bay Area one question at a time\u003c/h2>\r\n\r\n\u003caside>\r\n\u003cdiv style=\"width: 100%; padding-right: 20px;\">\r\n\r\nKQED’s \u003cstrong>Bay Curious\u003c/strong> 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.\r\n\u003cbr />\r\n\u003cspan class=\"alignleft\">\u003ca href=\"https://itunes.apple.com/us/podcast/id1172473406\">\u003cimg width=\"75px\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\">\u003c/a> \u003ca href=\"https://goo.gl/app/playmusic?ibi=com.google.PlayMusic&isi=691797987&ius=googleplaymusic&link=https://play.google.com/music/m/Ipi2mc5aqfen4nr2daayiziiyuy?t%3DBay_Curious\">\u003cimg width=\"75px\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\">\u003c/a>\u003c/span>\u003c/div>\r\n\u003c/aside> \r\n\u003ch2>What's your question?\u003c/h2>\r\n\u003cdiv id=\"huxq6\" class=\"curiosity-module\" data-pym-src=\"//modules.wearehearken.com/kqed/curiosity_modules/133\">\u003c/div>\r\n\u003cscript src=\"//assets.wearehearken.com/production/thirdparty/p.m.js\">\u003c/script>\r\n\u003ch2>Bay Curious monthly newsletter\u003c/h2>\r\nWe're launching it soon! \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdEtzbyNbSQkRHCCAkKhoGiAl3Bd0zWxhk0ZseJ1KH_o_ZDjQ/viewform\" target=\"_blank\">Sign up\u003c/a> so you don't miss it when it drops.\r\n",
"taxonomy": "series",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "A podcast exploring the Bay Area one question at a time KQED’s 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. What's your question? Bay Curious monthly newsletter We're launching it soon! Sign up so you don't miss it when it drops.",
"title": "Bay Curious Archives | KQED News",
"ogDescription": null
},
"ttid": 18020,
"slug": "baycurious",
"isLoading": false,
"link": "/news/series/baycurious"
},
"news_26702": {
"type": "terms",
"id": "news_26702",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "26702",
"found": true
},
"relationships": {},
"featImg": null,
"name": "KQED guides",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "KQED guides Archives | KQED News",
"ogDescription": null
},
"ttid": 26719,
"slug": "kqed-guides",
"isLoading": false,
"link": "/news/tag/kqed-guides"
},
"news_29283": {
"type": "terms",
"id": "news_29283",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "29283",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mexican music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mexican music Archives | KQED News",
"ogDescription": null
},
"ttid": 29300,
"slug": "mexican-music",
"isLoading": false,
"link": "/news/tag/mexican-music"
},
"news_33308": {
"type": "terms",
"id": "news_33308",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "33308",
"found": true
},
"relationships": {},
"name": "Peso Pluma",
"slug": "peso-pluma",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Peso Pluma | KQED News",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null,
"metaRobotsNoIndex": "noindex"
},
"ttid": 33325,
"isLoading": false,
"link": "/news/tag/peso-pluma"
},
"news_31663": {
"type": "terms",
"id": "news_31663",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "31663",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sundaymusicdrop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sundaymusicdrop Archives | KQED News",
"ogDescription": null
},
"ttid": 31680,
"slug": "sundaymusicdrop",
"isLoading": false,
"link": "/news/tag/sundaymusicdrop"
}
},
"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
}
}
