What Does Bandcamp’s Sale to Epic Games Mean for Independent Musicians?
Beast Nest’s ‘Sicko’ Holds Space for Grief In All Its Messy Forms
Dax Pierson’s New Album Confronts a Near-Death Experience and Turbulent Recovery
Wizard Apprentice Gets Real About Emotional Abuse on Their New Album
Experimental Music Festival Stasis Benefits ‘Hybrid’ Series at Pro Arts
Bay Area Record Fest Spotlights Local Indie Labels and Musicians
A Feminist and Queer Experimental Music Show at ProArts
Tyler Holmes Is Here For Your Inner Freak
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Basu is the executive director of \u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a>, an experimental label with dozens of digital albums and vinyl records for sale on the platform.\u003c/p>\n\u003cp>“We know how capitalism works, and we’re in a very twisted stage of capitalism right now where nothing is as it seems,” Basu says.\u003c/p>\n\u003cp>For years, Bandcamp has been hailed as the anti-Spotify because of its \u003ca href=\"https://www.npr.org/2020/08/19/903547253/a-tale-of-two-ecosystems-on-bandcamp-spotify-and-the-wide-open-future\" target=\"_blank\" rel=\"noopener noreferrer\">artist-friendly business model\u003c/a>. So as news of the acquisition spread through social media, many independent artists reacted with skepticism. After all, up until it was bought by Epic, Bandcamp was a small, privately-held company whose growth since its founding in 2008 has been slow, although profitable. Music and artist merchandise are its main products, but founder Ethan Diamond likens it to Etsy—a place for craftspeople to connect directly with customers—rather than the streaming giants one might assume are its competition.\u003c/p>\n\u003cp>[aside postid='arts_13857471']For independent artists who \u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\" target=\"_blank\" rel=\"noopener noreferrer\">lost most of their income from pandemic show cancellations\u003c/a>, Bandcamp has been a life raft: \u003ca href=\"https://isitbandcampfriday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">every First Friday\u003c/a>, it waives its service fees and allows artists to take home the full proceeds from their sales. And for the rest of the month, artists take home an average of 82% of what customers pay for their songs.\u003c/p>\n\u003cp>From a tech company standpoint, it’s not the most lucrative way of doing things. But that’s the point: Bandcamp has grown a loyal global user base of people who take pride in supporting their favorite artists.\u003c/p>\n\u003cp>So what does Epic, a company with a $28.7 billion valuation as of 2021 and \u003ca href=\"https://www.epicgames.com/site/en-US/news/announcing-a-1-billion-funding-round-to-support-epics-long-term-vision-for-the-metaverse\" target=\"_blank\" rel=\"noopener noreferrer\">ambitions in the metaverse\u003c/a>, plan to do with Bandcamp, a modest platform with just over 100 employees?\u003c/p>\n\u003cfigure id=\"attachment_13908924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/sharmi2-800x533.jpg\" alt=\"A portrait of electronic musician Sharmi Basu with their dog Beni at the Oakland rose garden.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Electronic musician Sharmi Basu is the executive director of Ratskin Records. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I just really worry about a company coming in and buying them for—I don’t know why,” says \u003ca href=\"https://www.dadadrummer.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Damon Krukowski\u003c/a>, a musician and writer based in Cambridge, Massachusetts whose new book and podcast, \u003cem>Ways of Hearing\u003c/em>, examines music listening in the digital age. “I mean, that’s the problem, because [Bandcamp is] not profitable enough, it wouldn’t seem, to interest a multibillion-dollar business like Epic Games. And that’s what’s distressing. It’s like, ‘Well, what are they going to do with it?’”\u003c/p>\n\u003cp>“It’s really worrisome to me because I’ve lived through several cycles of creative, independent activities in music being absorbed by larger, more mainstream corporations,” says Krukowski, who has worked in the music industry since the late 1980s.\u003c/p>\n\u003cp>Although a representative for Epic Games and Bandcamp declined to comment for this story, Epic’s recent foray into the world of \u003ca href=\"https://www.rollingstone.com/pro/news/fort-nite-concert-series-soundwave-global-artists-tones-and-i-mohamed-hamaki-1233168/\" target=\"_blank\" rel=\"noopener noreferrer\">virtual concerts\u003c/a> might offer some insight into why it could be interested in Bandcamp. Since 2020, when the pandemic shut down the concert industry, \u003ci>Fortnite\u003c/i> hosted “shows” by Travis Scott, Ariana Grande and J Balvin within the video game, which operates as an ever-expanding virtual world. More recently, in the fall of 2021, its virtual concerts grew beyond stars with American followings to international artists like Egyptian singer Mohamed Hamaki, France’s Aya Nakamura, Brazilian rapper Emicida and Japanese singer Gen Hoshino.\u003c/p>\n\u003cp>“\u003ci>Fortnite\u003c/i> is evolving from a battle royale game to a global social entertainment platform. It’s really important we start on a regional level as we look for talent, and these regions we chose have some of the most positive and engaged \u003cem>Fortnite\u003c/em> communities,” Emily Levy, senior partnerships manager at Epic Games, told \u003ca href=\"https://www.rollingstone.com/pro/news/fort-nite-concert-series-soundwave-global-artists-tones-and-i-mohamed-hamaki-1233168/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Rolling Stone\u003c/i>\u003c/a> in September 2021.\u003c/p>\n\u003cp>Still, any speculation of what awaits Bandcamp and its artists is still just guesswork. The \u003ca href=\"https://blog.bandcamp.com/2022/03/02/bandcamp-is-joining-epic/\" target=\"_blank\" rel=\"noopener noreferrer\">press releases\u003c/a> Epic and Bandcamp put out about the acquisition promised to keep the business model the same and emphasized both companies’ dedication to supporting independent artists.\u003c/p>\n\u003cp>“The products and services you depend on aren’t going anywhere,” wrote Diamond, the Bandcamp founder. “However, behind the scenes we’re working with Epic to expand internationally and push development forward across Bandcamp, from basics like our album pages, mobile apps, merch tools, payment system, and search and discovery features, to newer initiatives like our vinyl pressing and live streaming services.”\u003c/p>\n\u003cfigure id=\"attachment_13910315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/damon_naomi.12-800x508.jpg\" alt=\"\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/damon_naomi.12-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/damon_naomi.12-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/damon_naomi.12-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/damon_naomi.12.jpg 1008w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Writer Damon Krukowski is one half of musical duo Damon and Naomi. \u003ccite>(Anabel Vazquez Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, some industry insiders are worried that this promise won’t be guaranteed. “There’s almost no time in history that somebody who has been acquired has said, ‘Nothing is going to change, this is just a merger, or whatever you want to call it,’ and that that’s actually happened. It’s not a real thing,” says Patrick Brown, owner of \u003ca href=\"https://www.textmerecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Text Me Records\u003c/a>, a San Francisco independent label that sells music on Bandcamp. “Even if it takes a year, something eventually changes because it’s new management.”\u003c/p>\n\u003cp>“The hope is that it creates opportunities and visibility for independent artists,” he adds. “Whether or not that’s the case, I’m not sure.”\u003c/p>\n\u003cp>Theoretically, song licensing in Epic’s video games could present a money-making opportunity for artists. But “it’s not something that I think any of us can make a determination on until they’ve already done this and released their financials,” says Marshall Moran, a Brooklyn musician and steering committee member of \u003ca href=\"https://www.unionofmusicians.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Union of Musicians and Allied Workers\u003c/a>, a group that advocates for fair wages. “But unfortunately, transparency is always a difficult issue.” [aside postid='arts_13893952']\u003c/p>\n\u003cp>Indeed, Bandcamp’s transparency about its financials are a rarity in the music, tech and digital entertainment worlds. In contrast, artists have had to work backwards to calculate Spotify’s pay rates, which are widely believed to amount to $0.0038 per stream.\u003c/p>\n\u003cp>In the digital music landscape, Bandcamp is the company artists perceive to be on their side. And because independent artists’ ability to make a living has been undermined over and over again—because of the pandemic, low streaming rates or \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">corporate giants Goldenvoice and LiveNation buying out independent venues\u003c/a>—many are looking at Epic’s acquisition of the platform with trepidation.\u003c/p>\n\u003cp>“It’s a little scary,” says Tracy Wilson, a musician and owner of the Richmond, Virginia-based independent music distributor \u003ca href=\"https://courtesydesk.bigcartel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Courtesy Desk\u003c/a>. “Genuinely the last thing any independent artist wants to be given is even more question marks and more uncertainty because our landscape has been nothing but a slippery slope of bad news.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Bandcamp is known for paying musicians fairly. Now, many worry this could change under new ownership.","status":"publish","parent":0,"modified":1705007109,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1171},"headData":{"title":"What Does Bandcamp’s Sale to Epic Games Mean for Independent Musicians? | KQED","description":"Bandcamp is known for paying musicians fairly. Now, many worry this could change under new ownership.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"What Does Bandcamp’s Sale to Epic Games Mean for Independent Musicians?","datePublished":"2022-03-09T23:04:48.000Z","dateModified":"2024-01-11T21:05:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13910312/what-does-bandcamps-sale-to-epic-games-mean-for-independent-musicians","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On March 2, musicians who sell their work through Bandcamp got a surprise email: the Oakland-based music ecommerce platform was being acquired by Epic Games, creator of the video game \u003ci>Fortnite\u003c/i>.\u003c/p>\n\u003cp>“Honestly, I was really confused,” says Oakland electronic artist Sharmi Basu. Basu is the executive director of \u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a>, an experimental label with dozens of digital albums and vinyl records for sale on the platform.\u003c/p>\n\u003cp>“We know how capitalism works, and we’re in a very twisted stage of capitalism right now where nothing is as it seems,” Basu says.\u003c/p>\n\u003cp>For years, Bandcamp has been hailed as the anti-Spotify because of its \u003ca href=\"https://www.npr.org/2020/08/19/903547253/a-tale-of-two-ecosystems-on-bandcamp-spotify-and-the-wide-open-future\" target=\"_blank\" rel=\"noopener noreferrer\">artist-friendly business model\u003c/a>. So as news of the acquisition spread through social media, many independent artists reacted with skepticism. After all, up until it was bought by Epic, Bandcamp was a small, privately-held company whose growth since its founding in 2008 has been slow, although profitable. Music and artist merchandise are its main products, but founder Ethan Diamond likens it to Etsy—a place for craftspeople to connect directly with customers—rather than the streaming giants one might assume are its competition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13857471","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>For independent artists who \u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\" target=\"_blank\" rel=\"noopener noreferrer\">lost most of their income from pandemic show cancellations\u003c/a>, Bandcamp has been a life raft: \u003ca href=\"https://isitbandcampfriday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">every First Friday\u003c/a>, it waives its service fees and allows artists to take home the full proceeds from their sales. And for the rest of the month, artists take home an average of 82% of what customers pay for their songs.\u003c/p>\n\u003cp>From a tech company standpoint, it’s not the most lucrative way of doing things. But that’s the point: Bandcamp has grown a loyal global user base of people who take pride in supporting their favorite artists.\u003c/p>\n\u003cp>So what does Epic, a company with a $28.7 billion valuation as of 2021 and \u003ca href=\"https://www.epicgames.com/site/en-US/news/announcing-a-1-billion-funding-round-to-support-epics-long-term-vision-for-the-metaverse\" target=\"_blank\" rel=\"noopener noreferrer\">ambitions in the metaverse\u003c/a>, plan to do with Bandcamp, a modest platform with just over 100 employees?\u003c/p>\n\u003cfigure id=\"attachment_13908924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/sharmi2-800x533.jpg\" alt=\"A portrait of electronic musician Sharmi Basu with their dog Beni at the Oakland rose garden.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Electronic musician Sharmi Basu is the executive director of Ratskin Records. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I just really worry about a company coming in and buying them for—I don’t know why,” says \u003ca href=\"https://www.dadadrummer.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Damon Krukowski\u003c/a>, a musician and writer based in Cambridge, Massachusetts whose new book and podcast, \u003cem>Ways of Hearing\u003c/em>, examines music listening in the digital age. “I mean, that’s the problem, because [Bandcamp is] not profitable enough, it wouldn’t seem, to interest a multibillion-dollar business like Epic Games. And that’s what’s distressing. It’s like, ‘Well, what are they going to do with it?’”\u003c/p>\n\u003cp>“It’s really worrisome to me because I’ve lived through several cycles of creative, independent activities in music being absorbed by larger, more mainstream corporations,” says Krukowski, who has worked in the music industry since the late 1980s.\u003c/p>\n\u003cp>Although a representative for Epic Games and Bandcamp declined to comment for this story, Epic’s recent foray into the world of \u003ca href=\"https://www.rollingstone.com/pro/news/fort-nite-concert-series-soundwave-global-artists-tones-and-i-mohamed-hamaki-1233168/\" target=\"_blank\" rel=\"noopener noreferrer\">virtual concerts\u003c/a> might offer some insight into why it could be interested in Bandcamp. Since 2020, when the pandemic shut down the concert industry, \u003ci>Fortnite\u003c/i> hosted “shows” by Travis Scott, Ariana Grande and J Balvin within the video game, which operates as an ever-expanding virtual world. More recently, in the fall of 2021, its virtual concerts grew beyond stars with American followings to international artists like Egyptian singer Mohamed Hamaki, France’s Aya Nakamura, Brazilian rapper Emicida and Japanese singer Gen Hoshino.\u003c/p>\n\u003cp>“\u003ci>Fortnite\u003c/i> is evolving from a battle royale game to a global social entertainment platform. It’s really important we start on a regional level as we look for talent, and these regions we chose have some of the most positive and engaged \u003cem>Fortnite\u003c/em> communities,” Emily Levy, senior partnerships manager at Epic Games, told \u003ca href=\"https://www.rollingstone.com/pro/news/fort-nite-concert-series-soundwave-global-artists-tones-and-i-mohamed-hamaki-1233168/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Rolling Stone\u003c/i>\u003c/a> in September 2021.\u003c/p>\n\u003cp>Still, any speculation of what awaits Bandcamp and its artists is still just guesswork. The \u003ca href=\"https://blog.bandcamp.com/2022/03/02/bandcamp-is-joining-epic/\" target=\"_blank\" rel=\"noopener noreferrer\">press releases\u003c/a> Epic and Bandcamp put out about the acquisition promised to keep the business model the same and emphasized both companies’ dedication to supporting independent artists.\u003c/p>\n\u003cp>“The products and services you depend on aren’t going anywhere,” wrote Diamond, the Bandcamp founder. “However, behind the scenes we’re working with Epic to expand internationally and push development forward across Bandcamp, from basics like our album pages, mobile apps, merch tools, payment system, and search and discovery features, to newer initiatives like our vinyl pressing and live streaming services.”\u003c/p>\n\u003cfigure id=\"attachment_13910315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910315\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/damon_naomi.12-800x508.jpg\" alt=\"\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/damon_naomi.12-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/damon_naomi.12-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/damon_naomi.12-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/damon_naomi.12.jpg 1008w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Writer Damon Krukowski is one half of musical duo Damon and Naomi. \u003ccite>(Anabel Vazquez Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, some industry insiders are worried that this promise won’t be guaranteed. “There’s almost no time in history that somebody who has been acquired has said, ‘Nothing is going to change, this is just a merger, or whatever you want to call it,’ and that that’s actually happened. It’s not a real thing,” says Patrick Brown, owner of \u003ca href=\"https://www.textmerecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Text Me Records\u003c/a>, a San Francisco independent label that sells music on Bandcamp. “Even if it takes a year, something eventually changes because it’s new management.”\u003c/p>\n\u003cp>“The hope is that it creates opportunities and visibility for independent artists,” he adds. “Whether or not that’s the case, I’m not sure.”\u003c/p>\n\u003cp>Theoretically, song licensing in Epic’s video games could present a money-making opportunity for artists. But “it’s not something that I think any of us can make a determination on until they’ve already done this and released their financials,” says Marshall Moran, a Brooklyn musician and steering committee member of \u003ca href=\"https://www.unionofmusicians.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Union of Musicians and Allied Workers\u003c/a>, a group that advocates for fair wages. “But unfortunately, transparency is always a difficult issue.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13893952","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, Bandcamp’s transparency about its financials are a rarity in the music, tech and digital entertainment worlds. In contrast, artists have had to work backwards to calculate Spotify’s pay rates, which are widely believed to amount to $0.0038 per stream.\u003c/p>\n\u003cp>In the digital music landscape, Bandcamp is the company artists perceive to be on their side. And because independent artists’ ability to make a living has been undermined over and over again—because of the pandemic, low streaming rates or \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">corporate giants Goldenvoice and LiveNation buying out independent venues\u003c/a>—many are looking at Epic’s acquisition of the platform with trepidation.\u003c/p>\n\u003cp>“It’s a little scary,” says Tracy Wilson, a musician and owner of the Richmond, Virginia-based independent music distributor \u003ca href=\"https://courtesydesk.bigcartel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Courtesy Desk\u003c/a>. “Genuinely the last thing any independent artist wants to be given is even more question marks and more uncertainty because our landscape has been nothing but a slippery slope of bad news.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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":"/arts/13910312/what-does-bandcamps-sale-to-epic-games-mean-for-independent-musicians","authors":["11387"],"categories":["arts_1"],"tags":["arts_6425","arts_10342","arts_10278","arts_3140","arts_3338","arts_21264"],"featImg":"arts_13848951","label":"arts"},"arts_13908910":{"type":"posts","id":"arts_13908910","meta":{"index":"posts_1591205157","site":"arts","id":"13908910","score":null,"sort":[1643928032000]},"guestAuthors":[],"slug":"beast-nest-sicko-sharmi-basu-ghost-ship-ratskin-records","title":"Beast Nest’s ‘Sicko’ Holds Space for Grief In All Its Messy Forms","publishDate":1643928032,"format":"standard","headTitle":"Beast Nest’s ‘Sicko’ Holds Space for Grief In All Its Messy Forms | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>An instrumental album about grief might make you imagine listening to calming tones in the dark. But \u003ca href=\"http://www.sharmi.info/\" target=\"_blank\" rel=\"noopener noreferrer\">Sharmi Basu\u003c/a>’s new release as Beast Nest, \u003ci>Sicko\u003c/i> (\u003ca href=\"https://ratskin.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a>), splashes the canvas—no, actually, the wall—with all the strange, contradictory emotional hues that accompany healing.\u003c/p>\n\u003cp>Basu composed \u003ci>Sicko\u003c/i> in the years since losing close friends and collaborators in the 2016 Ghost Ship fire, which killed \u003ca href=\"https://www.kqed.org/ghostshipmemorial\" target=\"_blank\" rel=\"noopener noreferrer\">36 Oakland partygoers\u003c/a>. Billed as a “freak 4 freak, crazy 4 crazy wet blankie,” the album’s six electronic tracks embrace the messiness of grief.\u003c/p>\n\u003cp>As danceable beats guide the listener from abstract to accessible terrain, \u003ci>Sicko\u003c/i> takes us on an emotional ride that opens with the ambient, droning tones of a meditation. Quickly, sci-fi blips and bloops interrupt the connection to what sounds like a dispatch from the spiritual realm. Electronic noise blacks out pretty melodies like a swipe of spray paint. But moments of joy and hope bubble up as whimsical, fuzzy sounds, conjuring the textures of Koosh balls and cotton candy.\u003c/p>\n\u003cp>The compositions flow like the ups and downs that Basu went through in the months and years that followed the tragedy. “There was so much cuckoo energy going on, like any time you entered a space the grief was so thick you could touch it,” says Basu, who has been intimately involved in the Bay Area’s music scene for years as a performer, educator and executive director of Ratskin Records. Their work (notably their “\u003ca href=\"http://www.sharmi.info/decolonizing-sound-workshop\" target=\"_blank\" rel=\"noopener noreferrer\">Decolonizing Sound\u003c/a>” workshop) has appeared in major museums and universities, but they’ve stayed firmly rooted in the D.I.Y. underground scene.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1141726104/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After Ghost Ship, Basu’s way of coping with so much loss was to throw themself into organizing mutual aid efforts and fundraisers for the fire survivors, victims’ loved ones and the displaced warehouse tenants. They attended funerals and vigils, and spoke out in the media about how the Bay Area’s unaffordable housing market forces artists to live and perform in unsafe conditions. And they showed up for peers by attending and playing as many shows as possible.\u003c/p>\n\u003cp>“I didn’t know how to be alone during that time,” Basu says.\u003c/p>\n\u003cp>Other people didn’t either, and powerful moments of togetherness came with inevitable tensions. Many people’s mental health suffered. “There were just so many different hard emotions that were bumping up against each other,” Basu says, calling the time “chaotic.”\u003c/p>\n\u003cp>They have a sense of humor about it all on \u003ci>Sicko\u003c/i>, which contains song titles like “Ur Doing Great Sweaty” and “Kim, People are Dying,” both references to \u003ca href=\"https://knowyourmeme.com/memes/youre-doing-amazing-sweetie\" target=\"_blank\" rel=\"noopener noreferrer\">Kardashian memes\u003c/a> (the socialite family’s reality show was Basu’s comfort viewing during the most isolating moments of the pandemic).\u003c/p>\n\u003cp>Amid the levity, other tracks reveal the enormity of the artist’s loss. One simply titled “Jsun” pays tribute to musician and illustrator \u003ca href=\"https://www.kqed.org/arts/12479036/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator\" target=\"_blank\" rel=\"noopener noreferrer\">Jsun McCarty\u003c/a>. He and Basu dated for two years while Basu was getting their MFA in electronic music at Mills College. Jsun was also close friends, musical collaborators and roommates with Ratskin Records co-founder Mike Daddona, and Basu practically lived at their house during the relationship. [aside postid='arts_13816362']\u003c/p>\n\u003cp>“He just supported me so intensely around that time, especially around my music stuff in a way I really hadn’t had anyone do before,” Basu says. On the track named in his honor, there’s a weighty sadness. A sparse melody becomes increasingly abstract until glitchy static takes over and eventually quiets down. It’s as if the track is a portal to what might lie beyond.\u003c/p>\n\u003cp>After Ghost Ship and the COVID-19 pandemic—and with the ever-increasing cost of living—Oakland’s experimental, underground arts scene is definitely still here. But the free-spirited sense of possibility has given way to tough realities. “It’s difficult to keep in touch with each other,” says Basu. “And I think it’s like, we still don’t know how to hold each other in collective grief as well as we would like to.”\u003c/p>\n\u003cfigure id=\"attachment_13908924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/sharmi2-800x533.jpg\" alt=\"A portrait of electronic musician Sharmi Basu with their dog Beni at the Oakland rose garden.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharmi Basu and their dog, Beni. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an effort to facilitate better communication, Basu’s vinyl release of \u003ci>Sicko\u003c/i> comes with a workbook with 50 questions about conflict and repair. The offering came out of their ongoing \u003ca href=\"http://www.sharmi.info/self-investigations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Self Investigations\u003c/i>\u003c/a> project, which has included interactive video installations, performance art pieces and workshops. “It first came out of thinking a lot about accountability and the ways that accountability processes fail within arts communities, within radical organizing communities,” says Basu, who is a trained conflict mediator.\u003c/p>\n\u003cp>“We need to learn how to work through shit together if we’re going to actually be able to organize, resist and have joy,” the artist explains. In their artist statement for \u003ci>Sicko\u003c/i>, they thank the people that stuck by them despite some “not cute behavior” and listened when Basu “call[ed] them out on the same.”\u003c/p>\n\u003cp>Up next, Basu has a residency at \u003ca href=\"https://www.temescalartcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Temescal Art Center\u003c/a> starting in May, where they’ll continue their \u003ci>Self Investigations\u003c/i> project with an interactive installation that will cocoon visitors in a soothing environment and invite them to answer the self-reflection prompts from the workbook. (One light piece is activated by squeezing a teddy bear.) [aside postid='arts_13881725']\u003c/p>\n\u003cp>And, related to the trauma-informed thinking around \u003ci>Sicko\u003c/i>, the core Ratskin Records team of Basu, Daddona and Tieraney Carter are working on a virtual venue called \u003ca href=\"http://www.sharmi.info/news-wav/2021/12/2/eggwater-holosuites-preview-of-mixed-reality-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records Holosuites\u003c/a>, while deepening their understanding of accessibility and disability justice activism. (A preview of Holosuites was featured in a \u003ca href=\"https://soex.org/projects-exhibitions/interconnected\" target=\"_blank\" rel=\"noopener noreferrer\">juried group show last fall\u003c/a> at the San Francisco gallery Southern Exposure, where Basu works as an administrator by day.)\u003c/p>\n\u003cp>Virtual shows might have looked like they would fall out of favor when COVID vaccines first became available a year ago. But the unpredictability of the virus has proven that independent artists need to have multiple modes of performing and connecting with audiences.\u003c/p>\n\u003cp>“There’s so many different reasons people can’t go to shows, like accessibility physically if there’s stairs, if the door is too heavy, if the air is too cold—there’s all these things that we don’t think about. And then like, if your abusive ex is out at the show, or you work until 9pm or 10pm, or you have kids at home,” they explain. [aside postid='arts_13893843']\u003c/p>\n\u003cp>It’s that desire to create more nourishing and accepting spaces that has made Basu’s work so impactful. And if the past few years have taught us anything, it’s that alternative platforms can model how to best serve the physical and mental health needs of both audiences and artists.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With \u003ci>Sicko\u003c/i>, Basu doesn’t come to us fully healed, with some profound insight that makes meaning out of all this senseless tragedy. But in opening up their scars, they let their listeners know that they’re not alone.\u003c/p>\n\n","blocks":[],"excerpt":"Composed in the aftermath of the Ghost Ship fire, the album soundtracks the many contradictory emotions of loss. ","status":"publish","parent":0,"modified":1705007243,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1141726104/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1218},"headData":{"title":"After Ghost Ship, Beast Nest's 'Sicko' Holds Space for Grief | KQED","description":"The artist's music and projects with Ratskin Records are inspiring conversations about mental health and disability justice.","ogTitle":"Beast Nest’s ‘Sicko’ Holds Space for Grief In All Its Messy Forms","ogDescription":"Composed in the aftermath of the Ghost Ship fire, the album soundtracks the many contradictory emotions of loss.","ogImgId":"","twTitle":"Beast Nest’s ‘Sicko’ Holds Space for Grief In All Its Messy Forms","twDescription":"Composed in the aftermath of the Ghost Ship fire, the album soundtracks the many contradictory emotions of loss.","twImgId":"","socialTitle":"After Ghost Ship, Beast Nest's 'Sicko' Holds Space for Grief %%page%% %%sep%% KQED","socialDescription":"The artist's music and projects with Ratskin Records are inspiring conversations about mental health and disability justice.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Beast Nest’s ‘Sicko’ Holds Space for Grief In All Its Messy Forms","datePublished":"2022-02-03T22:40:32.000Z","dateModified":"2024-01-11T21:07:23.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13908910/beast-nest-sicko-sharmi-basu-ghost-ship-ratskin-records","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>An instrumental album about grief might make you imagine listening to calming tones in the dark. But \u003ca href=\"http://www.sharmi.info/\" target=\"_blank\" rel=\"noopener noreferrer\">Sharmi Basu\u003c/a>’s new release as Beast Nest, \u003ci>Sicko\u003c/i> (\u003ca href=\"https://ratskin.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a>), splashes the canvas—no, actually, the wall—with all the strange, contradictory emotional hues that accompany healing.\u003c/p>\n\u003cp>Basu composed \u003ci>Sicko\u003c/i> in the years since losing close friends and collaborators in the 2016 Ghost Ship fire, which killed \u003ca href=\"https://www.kqed.org/ghostshipmemorial\" target=\"_blank\" rel=\"noopener noreferrer\">36 Oakland partygoers\u003c/a>. Billed as a “freak 4 freak, crazy 4 crazy wet blankie,” the album’s six electronic tracks embrace the messiness of grief.\u003c/p>\n\u003cp>As danceable beats guide the listener from abstract to accessible terrain, \u003ci>Sicko\u003c/i> takes us on an emotional ride that opens with the ambient, droning tones of a meditation. Quickly, sci-fi blips and bloops interrupt the connection to what sounds like a dispatch from the spiritual realm. Electronic noise blacks out pretty melodies like a swipe of spray paint. But moments of joy and hope bubble up as whimsical, fuzzy sounds, conjuring the textures of Koosh balls and cotton candy.\u003c/p>\n\u003cp>The compositions flow like the ups and downs that Basu went through in the months and years that followed the tragedy. “There was so much cuckoo energy going on, like any time you entered a space the grief was so thick you could touch it,” says Basu, who has been intimately involved in the Bay Area’s music scene for years as a performer, educator and executive director of Ratskin Records. Their work (notably their “\u003ca href=\"http://www.sharmi.info/decolonizing-sound-workshop\" target=\"_blank\" rel=\"noopener noreferrer\">Decolonizing Sound\u003c/a>” workshop) has appeared in major museums and universities, but they’ve stayed firmly rooted in the D.I.Y. underground scene.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1141726104/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\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>After Ghost Ship, Basu’s way of coping with so much loss was to throw themself into organizing mutual aid efforts and fundraisers for the fire survivors, victims’ loved ones and the displaced warehouse tenants. They attended funerals and vigils, and spoke out in the media about how the Bay Area’s unaffordable housing market forces artists to live and perform in unsafe conditions. And they showed up for peers by attending and playing as many shows as possible.\u003c/p>\n\u003cp>“I didn’t know how to be alone during that time,” Basu says.\u003c/p>\n\u003cp>Other people didn’t either, and powerful moments of togetherness came with inevitable tensions. Many people’s mental health suffered. “There were just so many different hard emotions that were bumping up against each other,” Basu says, calling the time “chaotic.”\u003c/p>\n\u003cp>They have a sense of humor about it all on \u003ci>Sicko\u003c/i>, which contains song titles like “Ur Doing Great Sweaty” and “Kim, People are Dying,” both references to \u003ca href=\"https://knowyourmeme.com/memes/youre-doing-amazing-sweetie\" target=\"_blank\" rel=\"noopener noreferrer\">Kardashian memes\u003c/a> (the socialite family’s reality show was Basu’s comfort viewing during the most isolating moments of the pandemic).\u003c/p>\n\u003cp>Amid the levity, other tracks reveal the enormity of the artist’s loss. One simply titled “Jsun” pays tribute to musician and illustrator \u003ca href=\"https://www.kqed.org/arts/12479036/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator\" target=\"_blank\" rel=\"noopener noreferrer\">Jsun McCarty\u003c/a>. He and Basu dated for two years while Basu was getting their MFA in electronic music at Mills College. Jsun was also close friends, musical collaborators and roommates with Ratskin Records co-founder Mike Daddona, and Basu practically lived at their house during the relationship. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13816362","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He just supported me so intensely around that time, especially around my music stuff in a way I really hadn’t had anyone do before,” Basu says. On the track named in his honor, there’s a weighty sadness. A sparse melody becomes increasingly abstract until glitchy static takes over and eventually quiets down. It’s as if the track is a portal to what might lie beyond.\u003c/p>\n\u003cp>After Ghost Ship and the COVID-19 pandemic—and with the ever-increasing cost of living—Oakland’s experimental, underground arts scene is definitely still here. But the free-spirited sense of possibility has given way to tough realities. “It’s difficult to keep in touch with each other,” says Basu. “And I think it’s like, we still don’t know how to hold each other in collective grief as well as we would like to.”\u003c/p>\n\u003cfigure id=\"attachment_13908924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/sharmi2-800x533.jpg\" alt=\"A portrait of electronic musician Sharmi Basu with their dog Beni at the Oakland rose garden.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharmi Basu and their dog, Beni. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an effort to facilitate better communication, Basu’s vinyl release of \u003ci>Sicko\u003c/i> comes with a workbook with 50 questions about conflict and repair. The offering came out of their ongoing \u003ca href=\"http://www.sharmi.info/self-investigations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Self Investigations\u003c/i>\u003c/a> project, which has included interactive video installations, performance art pieces and workshops. “It first came out of thinking a lot about accountability and the ways that accountability processes fail within arts communities, within radical organizing communities,” says Basu, who is a trained conflict mediator.\u003c/p>\n\u003cp>“We need to learn how to work through shit together if we’re going to actually be able to organize, resist and have joy,” the artist explains. In their artist statement for \u003ci>Sicko\u003c/i>, they thank the people that stuck by them despite some “not cute behavior” and listened when Basu “call[ed] them out on the same.”\u003c/p>\n\u003cp>Up next, Basu has a residency at \u003ca href=\"https://www.temescalartcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Temescal Art Center\u003c/a> starting in May, where they’ll continue their \u003ci>Self Investigations\u003c/i> project with an interactive installation that will cocoon visitors in a soothing environment and invite them to answer the self-reflection prompts from the workbook. (One light piece is activated by squeezing a teddy bear.) \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13881725","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And, related to the trauma-informed thinking around \u003ci>Sicko\u003c/i>, the core Ratskin Records team of Basu, Daddona and Tieraney Carter are working on a virtual venue called \u003ca href=\"http://www.sharmi.info/news-wav/2021/12/2/eggwater-holosuites-preview-of-mixed-reality-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records Holosuites\u003c/a>, while deepening their understanding of accessibility and disability justice activism. (A preview of Holosuites was featured in a \u003ca href=\"https://soex.org/projects-exhibitions/interconnected\" target=\"_blank\" rel=\"noopener noreferrer\">juried group show last fall\u003c/a> at the San Francisco gallery Southern Exposure, where Basu works as an administrator by day.)\u003c/p>\n\u003cp>Virtual shows might have looked like they would fall out of favor when COVID vaccines first became available a year ago. But the unpredictability of the virus has proven that independent artists need to have multiple modes of performing and connecting with audiences.\u003c/p>\n\u003cp>“There’s so many different reasons people can’t go to shows, like accessibility physically if there’s stairs, if the door is too heavy, if the air is too cold—there’s all these things that we don’t think about. And then like, if your abusive ex is out at the show, or you work until 9pm or 10pm, or you have kids at home,” they explain. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13893843","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s that desire to create more nourishing and accepting spaces that has made Basu’s work so impactful. And if the past few years have taught us anything, it’s that alternative platforms can model how to best serve the physical and mental health needs of both audiences and artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With \u003ci>Sicko\u003c/i>, Basu doesn’t come to us fully healed, with some profound insight that makes meaning out of all this senseless tragedy. But in opening up their scars, they let their listeners know that they’re not alone.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13908910/beast-nest-sicko-sharmi-basu-ghost-ship-ratskin-records","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_9693","arts_10342","arts_10278","arts_1627","arts_4773","arts_3140"],"featImg":"arts_13908923","label":"arts"},"arts_13861305":{"type":"posts","id":"arts_13861305","meta":{"index":"posts_1591205157","site":"arts","id":"13861305","score":null,"sort":[1563840031000]},"guestAuthors":[],"slug":"dax-piersons-new-album-confronts-a-near-death-experience-and-turbulent-recovery","title":"Dax Pierson’s New Album Confronts a Near-Death Experience and Turbulent Recovery","publishDate":1563840031,"format":"standard","headTitle":"Dax Pierson’s New Album Confronts a Near-Death Experience and Turbulent Recovery | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In 2005, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/live-in-oakland\" target=\"_blank\" rel=\"noopener\">Dax Pierson\u003c/a> was on tour as keyboardist with \u003ca href=\"https://www.youtube.com/watch?v=67eos8awdaQ\" target=\"_blank\" rel=\"noopener\">Subtle\u003c/a>, an Anticon Records-affiliated dance-punk-meets-hip-hop sextet, when tragedy struck. The band’s tour van slipped on black ice on a freeway in Iowa. After the car flipped upside down, Pierson’s seatbelt gave out, and he fell on his head.\u003c/p>\n\u003cp>The resulting injuries rendered Pierson partially paralyzed in all four limbs—including in his fingertips.\u003c/p>\n\u003cp>Now, 14 years later, Pierson has released his solo debut under his real name, and his first album in 11 years. \u003cem>\u003ca href=\"https://ratskinrecords.bandcamp.com/album/live-in-oakland\" target=\"_blank\" rel=\"noopener\">Live in Oakland\u003c/a>\u003c/em>, out this month on Ratskin Records, introduces Pierson’s new style of freeform electronic compositions with a sprawling, ocean-like musical topography. With recordings of doctor’s visits and his wheelchair’s mechanical noise interspersed among droning synths and dramatic, reverb-heavy percussion, Pierson lets listeners into his recovery process, where the emotional challenges have sometimes been as heavy as the physical ones.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=328861811/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>On the opening track, Pierson repeats the warning like a mantra: “Don’t take your physical abilities for granted. For you could lose them—at the snap of a neck.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was something I was constantly thinking and saying to myself for a while,” Pierson says when I meet him at his sunny home studio in the Oakland hills, where warm, golden-hour light floods his nook of cables, controllers and towering shelves filled with vinyl records. “When I started getting those sets together, I wanted to incorporate my injury and my life into my work.”\u003c/p>\n\u003cp>[pullquote size=large citation='Dax Pierson']“When they introduced the iPad, that’s when I knew there was a real possibility to make serious music, because I had a way to interact by touch instead of having to press keys, play chords and turn knobs.”[/pullquote]\u003c/p>\n\u003cp>The compositions on \u003cem>Live in Oakland\u003c/em> were recorded during Pierson’s live shows from the last several years. At the now-defunct underground venue LCM, a West Oakland church-turned-noise music haven, and the art gallery ProArts, Pierson rediscovered himself as a performer before a supportive, tight-knit audience that had been awaiting his return since his Subtle days. [aside postid='arts_13861579']\u003c/p>\n\u003cp>Indeed, the underground music community was an essential support system when Pierson got back to Oakland after eight months in a Houston rehabilitation hospital following the accident. When he returned, his friends, peers in the music scene and coworkers at Amoeba Music (where the other members of Subtle also worked at the time) organized benefit shows and fundraisers to get him a caregiver. They also formed an apartment-hunting squad that helped him get set up at his own place.\u003c/p>\n\u003cp>“I was getting a lot of support from the Amoeba family,” says Pierson. “And thankfully the music community, like the way they have rallied around other types of events like Ghost Ship, they were able to rally together and have benefits. They helped me that first year.”\u003c/p>\n\u003cfigure id=\"attachment_13861811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861811\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/DaxPierson_byMD-800x533.jpg\" alt=\"Dax Pierson.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/DaxPierson_byMD.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/DaxPierson_byMD-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/DaxPierson_byMD-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dax Pierson. \u003ccite>(Mike Daddona)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After getting back to Oakland, Pierson tried playing keyboard by hitting the keys with pointers, but found his physical abilities decreasing with time. Doctors offered little insight or emotional support, as heard on the track “Treading Water,” which mixes in a recording of Pierson’s doctor feebly attempting to reassure him about a situation that, realistically, looked bad from all angles. Amid woozy synths that lurch like pangs of nausea, Pierson’s doctor explains that his neck is fusing together, and even though he’ll lose mobility, “the good thing is if you have arthritis there and it fuses, you won’t have pain anymore.”\u003c/p>\n\u003cp>In the recording is a snippet of Pierson’s shellshocked “oh” in acknowledgement. Now he reflects, “That appointment really left me hurt and angry, and putting that piece together was a form of therapy—just a way for me to get the frustration out of what he was saying and how unbelievable it was.”\u003c/p>\n\u003cp>[ad=fullwidth]\u003c/p>\n\u003cp>As his recovery went on, Pierson helped co-write songs on Subtle’s 2006 and 2008 albums by singing bass lines, verbally giving his bandmates edits on compositions and teaching them Ableton. He wasn’t able to do much else musically until five years after the accident in 2010, when the advent of the iPad changed everything for him—and many other musicians with disabilities.\u003c/p>\n\u003cp>“When they introduced the iPad, that’s when I knew there was a real possibility to make serious music, because I had a way to interact by touch instead of having to press keys, play chords and turn knobs,” he says. Showing me an app he uses to control Ableton on his computer, and another one that functions more like a mixing board, controlling multiple iPad apps at once, he adds, “I can do it all virtually.” [aside postid='arts_13856737']\u003c/p>\n\u003cp>These days, Pierson shares his Oakland hills home with his longtime partner, Chuck, a visual artist. In fact, the two of them met on a social networking site, Tribe.Net (pre-Facebook, post-MySpace), and were starting up a long-distance relationship during the year before that fateful tour. While on the road, Pierson was supposed to see him in New York.\u003c/p>\n\u003cp>“I never made it, but we met and he came out to visit in Houston,” he says with a sweet smile. “And we’ve been together for 15 years.”\u003c/p>\n\u003cp>Visceral and stirring, \u003cem>Live in Oakland\u003c/em> is Pierson’s way of clearing his throat and letting people know that he’s still here—and why he’s been laying low. It doesn’t paint a falsely inspirational portrait of surviving a near-death experience or living with disabilities. Instead, the album allows listeners to course through the messy, uncomfortable and sometimes ugly emotions that have been part of his recovery process.\u003c/p>\n\u003cp>Pierson is already working on his next album—which he says could take a more poppy form, gesturing to an entire shelf of Prince vinyl he’s been collecting since the age of 12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[Music] has kept my head out of the shit. And there’s a \u003cem>lot\u003c/em> of shit,” says Pierson with a sarcastic laugh. “Music has been a real lifesaver.”\u003c/p>\n\n","blocks":[],"excerpt":"On a dark, droning electronic album, the artist works through the difficult emotions of acclimating to his disabilities.","status":"publish","parent":0,"modified":1705022502,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=328861811/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1090},"headData":{"title":"Dax Pierson’s New Album Confronts a Near-Death Experience and Turbulent Recovery | KQED","description":"On a dark, droning electronic album, the artist works through the difficult emotions of acclimating to his disabilities.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dax Pierson’s New Album Confronts a Near-Death Experience and Turbulent Recovery","datePublished":"2019-07-23T00:00:31.000Z","dateModified":"2024-01-12T01:21:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13861305/dax-piersons-new-album-confronts-a-near-death-experience-and-turbulent-recovery","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2005, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/live-in-oakland\" target=\"_blank\" rel=\"noopener\">Dax Pierson\u003c/a> was on tour as keyboardist with \u003ca href=\"https://www.youtube.com/watch?v=67eos8awdaQ\" target=\"_blank\" rel=\"noopener\">Subtle\u003c/a>, an Anticon Records-affiliated dance-punk-meets-hip-hop sextet, when tragedy struck. The band’s tour van slipped on black ice on a freeway in Iowa. After the car flipped upside down, Pierson’s seatbelt gave out, and he fell on his head.\u003c/p>\n\u003cp>The resulting injuries rendered Pierson partially paralyzed in all four limbs—including in his fingertips.\u003c/p>\n\u003cp>Now, 14 years later, Pierson has released his solo debut under his real name, and his first album in 11 years. \u003cem>\u003ca href=\"https://ratskinrecords.bandcamp.com/album/live-in-oakland\" target=\"_blank\" rel=\"noopener\">Live in Oakland\u003c/a>\u003c/em>, out this month on Ratskin Records, introduces Pierson’s new style of freeform electronic compositions with a sprawling, ocean-like musical topography. With recordings of doctor’s visits and his wheelchair’s mechanical noise interspersed among droning synths and dramatic, reverb-heavy percussion, Pierson lets listeners into his recovery process, where the emotional challenges have sometimes been as heavy as the physical ones.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=328861811/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>On the opening track, Pierson repeats the warning like a mantra: “Don’t take your physical abilities for granted. For you could lose them—at the snap of a neck.”\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>“It was something I was constantly thinking and saying to myself for a while,” Pierson says when I meet him at his sunny home studio in the Oakland hills, where warm, golden-hour light floods his nook of cables, controllers and towering shelves filled with vinyl records. “When I started getting those sets together, I wanted to incorporate my injury and my life into my work.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"“When they introduced the iPad, that’s when I knew there was a real possibility to make serious music, because I had a way to interact by touch instead of having to press keys, play chords and turn knobs.”","name":"pullquote","attributes":{"named":{"size":"large","citation":"Dax Pierson","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The compositions on \u003cem>Live in Oakland\u003c/em> were recorded during Pierson’s live shows from the last several years. At the now-defunct underground venue LCM, a West Oakland church-turned-noise music haven, and the art gallery ProArts, Pierson rediscovered himself as a performer before a supportive, tight-knit audience that had been awaiting his return since his Subtle days. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13861579","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, the underground music community was an essential support system when Pierson got back to Oakland after eight months in a Houston rehabilitation hospital following the accident. When he returned, his friends, peers in the music scene and coworkers at Amoeba Music (where the other members of Subtle also worked at the time) organized benefit shows and fundraisers to get him a caregiver. They also formed an apartment-hunting squad that helped him get set up at his own place.\u003c/p>\n\u003cp>“I was getting a lot of support from the Amoeba family,” says Pierson. “And thankfully the music community, like the way they have rallied around other types of events like Ghost Ship, they were able to rally together and have benefits. They helped me that first year.”\u003c/p>\n\u003cfigure id=\"attachment_13861811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861811\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/DaxPierson_byMD-800x533.jpg\" alt=\"Dax Pierson.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/DaxPierson_byMD.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/DaxPierson_byMD-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/DaxPierson_byMD-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dax Pierson. \u003ccite>(Mike Daddona)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After getting back to Oakland, Pierson tried playing keyboard by hitting the keys with pointers, but found his physical abilities decreasing with time. Doctors offered little insight or emotional support, as heard on the track “Treading Water,” which mixes in a recording of Pierson’s doctor feebly attempting to reassure him about a situation that, realistically, looked bad from all angles. Amid woozy synths that lurch like pangs of nausea, Pierson’s doctor explains that his neck is fusing together, and even though he’ll lose mobility, “the good thing is if you have arthritis there and it fuses, you won’t have pain anymore.”\u003c/p>\n\u003cp>In the recording is a snippet of Pierson’s shellshocked “oh” in acknowledgement. Now he reflects, “That appointment really left me hurt and angry, and putting that piece together was a form of therapy—just a way for me to get the frustration out of what he was saying and how unbelievable it was.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"=fullwidth"},"numeric":["=fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As his recovery went on, Pierson helped co-write songs on Subtle’s 2006 and 2008 albums by singing bass lines, verbally giving his bandmates edits on compositions and teaching them Ableton. He wasn’t able to do much else musically until five years after the accident in 2010, when the advent of the iPad changed everything for him—and many other musicians with disabilities.\u003c/p>\n\u003cp>“When they introduced the iPad, that’s when I knew there was a real possibility to make serious music, because I had a way to interact by touch instead of having to press keys, play chords and turn knobs,” he says. Showing me an app he uses to control Ableton on his computer, and another one that functions more like a mixing board, controlling multiple iPad apps at once, he adds, “I can do it all virtually.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13856737","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These days, Pierson shares his Oakland hills home with his longtime partner, Chuck, a visual artist. In fact, the two of them met on a social networking site, Tribe.Net (pre-Facebook, post-MySpace), and were starting up a long-distance relationship during the year before that fateful tour. While on the road, Pierson was supposed to see him in New York.\u003c/p>\n\u003cp>“I never made it, but we met and he came out to visit in Houston,” he says with a sweet smile. “And we’ve been together for 15 years.”\u003c/p>\n\u003cp>Visceral and stirring, \u003cem>Live in Oakland\u003c/em> is Pierson’s way of clearing his throat and letting people know that he’s still here—and why he’s been laying low. It doesn’t paint a falsely inspirational portrait of surviving a near-death experience or living with disabilities. Instead, the album allows listeners to course through the messy, uncomfortable and sometimes ugly emotions that have been part of his recovery process.\u003c/p>\n\u003cp>Pierson is already working on his next album—which he says could take a more poppy form, gesturing to an entire shelf of Prince vinyl he’s been collecting since the age of 12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[Music] has kept my head out of the shit. And there’s a \u003cem>lot\u003c/em> of shit,” says Pierson with a sarcastic laugh. “Music has been a real lifesaver.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13861305/dax-piersons-new-album-confronts-a-near-death-experience-and-turbulent-recovery","authors":["11387"],"categories":["arts_69"],"tags":["arts_1118","arts_3140"],"featImg":"arts_13861812","label":"arts"},"arts_13856737":{"type":"posts","id":"arts_13856737","meta":{"index":"posts_1591205157","site":"arts","id":"13856737","score":null,"sort":[1557446445000]},"guestAuthors":[],"slug":"wizard-apprentice-gets-real-about-emotional-abuse-on-their-new-album","title":"Wizard Apprentice Gets Real About Emotional Abuse on Their New Album","publishDate":1557446445,"format":"standard","headTitle":"Wizard Apprentice Gets Real About Emotional Abuse on Their New Album | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Emotional abuse manifests in subtle ways, and experimental singer-producer \u003ca href=\"http://wizard-apprentice.com/\" target=\"_blank\" rel=\"noopener\">Wizard Apprentice\u003c/a> remembers the moment they realized their ex used belittling, humiliation, \u003ca href=\"https://www.psychologytoday.com/us/blog/communication-success/201704/7-stages-gaslighting-in-relationship\" target=\"_blank\" rel=\"noopener\">gaslighting\u003c/a> and other tactics of control and manipulation. The artist left the relationship questioning their own sense of reality, with their self-esteem severely depleted.\u003c/p>\n\u003cp>“It was almost like a psychological thriller,” reflects Wizard Apprentice (who uses they/them pronouns). “At the beginning, you might think one character is one way, and then by the reveal of the movie, you realize everything you knew about [it] is completely altered.”\u003c/p>\n\u003cp>Once Wizard Apprentice, whose real name is Tieraney Carter, broke things off with that person, they poured themselves into research, reading \u003ca href=\"https://thoughtcatalog.com/shahida-arabi/2016/06/20-diversion-tactics-highly-manipulative-narcissists-sociopaths-and-psychopaths-use-to-silence-you/\" target=\"_blank\" rel=\"noopener\">articles\u003c/a> and watching YouTube videos from spiritual healers, mental health advocates and licensed psychologists. They learned that emotional abuse can manifest through seemingly small violations—of trust, of boundaries, of respect—that are difficult to identify until they culminate in a toxic environment for the person on the receiving end. [aside postid='arts_13850633']\u003c/p>\n\u003cp>“It took me a full year of getting to know this person, and a year of research, to have more of a clear sense of what had happened,” says Carter. “There’s this really scary feeling of like, ‘Damn, I’ve had this experience, it’s really traumatic. I don’t know how I’m going to explain that to people.'”\u003c/p>\n\u003cp>As Carter worked toward recovery, they documented their findings on their YouTube channel, \u003ca href=\"https://www.youtube.com/channel/UC73O_7DN3eklVoq8gFov2EA\" target=\"_blank\" rel=\"noopener\">U.R.L. G.U.R.L\u003c/a>, and in their music—two therapeutic outlets that allowed them to build community with other survivors at shows and online. With their new album, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/dig-a-pit\" target=\"_blank\" rel=\"noopener\">\u003cem>Dig a Pit\u003c/em>\u003c/a>, which comes out May 10 on Oakland’s \u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Ratskin Records\u003c/a> (with a vinyl release through \u003ca href=\"https://cruisinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Cruisin Records\u003c/a>), they attempt to make sense of what happened, and to foster an open dialogue about the seldom-discussed ways emotional abuse can manifest. (In their new video series on \u003ca href=\"https://www.instagram.com/p/Bw-2CJUBGUW/\" target=\"_blank\" rel=\"noopener\">IGTV\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=G-CTnOTAFoQ\" target=\"_blank\" rel=\"noopener\">YouTube\u003c/a>, “Survivor Catchphrases,” they explore these topics every Thursday through June 27.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/pAqDpfpFJB0\u003c/p>\n\u003cp>The tracks on \u003cem>Dig a Pit\u003c/em> take listeners through the arc of an emotionally abusive relationship and its painful aftermath. The industrial, techno-inspired opening song, “Desire to Learn,” narrates how abusers can use the get-to-know-you phase of the relationship to learn how to manipulate someone’s weaknesses (“You were studying me too / But you were looking for openings, open wounds”). “Gloves are Off,” with a funky bass line and elemental drum roll, starts with the rage-inducing realization of having been manipulated and ends with the affirmation that one can only heal oneself.\u003c/p>\n\u003cp>Later, on “Exorcism,” Carter’s songwriting gets surreal. Singing in a pitch-shifted voice so deep it’s practically subterranean, they take on the perspective of someone who takes advantage of others. “I found someone who likes me / How long do I have before I hurt her?” Wizard Apprentice growls demonically. “I think she really likes me. I find her willingness useful.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1700567050/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Carter’s stripped-down bedroom pop—music for sensitive introverts and self-help enthusiasts—is sometimes uncomfortably transparent in its introspection, like a therapy session set to synth loops. In their music and on U.R.L. G.U.R.L., Carter probes the intricacies of their relationships and self-image, always with the goal of becoming more emotionally intelligent and self-aware.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While the artist has long bared their soul in their work, it took them over a year to figure out how to talk about what happened to them. They say sharing has been healing. “I need to do that for my own sense of recovery from it, and even feeling more safe in the world,” Carter says. “How are we supposed to build communities if people don’t know this is a thing or how to engage with it?”\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/G-CTnOTAFoQ\u003c/p>\n\u003cp>Performing the new tracks from \u003cem>Dig a Pit\u003c/em> has been affirming for Carter. The artist says that audience members have come up to them and told them about similar experiences. They want to have open conversations about what healthy relationships look like, and how to spot the signs of emotional abuse, to help other survivors see the signs before they get too deep into a toxic relationship.\u003c/p>\n\u003cp>“What’s missing is ways of understanding the complexities of these types of relationships,” Carter says, “and how anybody could discern what’s happening.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Wizard Apprentice performs at Elbo Room Oakland on May 16. Details \u003ca href=\"https://www.facebook.com/events/2178599665510682/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The experimental singer-producer's new album and video series gets into the intricacies of unhealthy relationships. ","status":"publish","parent":0,"modified":1705026223,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1700567050/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":799},"headData":{"title":"Wizard Apprentice Gets Real About Emotional Abuse on Their New Album | KQED","description":"The experimental singer-producer's new album and video series gets into the intricacies of unhealthy relationships. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Wizard Apprentice Gets Real About Emotional Abuse on Their New Album","datePublished":"2019-05-10T00:00:45.000Z","dateModified":"2024-01-12T02:23:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13856737/wizard-apprentice-gets-real-about-emotional-abuse-on-their-new-album","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Emotional abuse manifests in subtle ways, and experimental singer-producer \u003ca href=\"http://wizard-apprentice.com/\" target=\"_blank\" rel=\"noopener\">Wizard Apprentice\u003c/a> remembers the moment they realized their ex used belittling, humiliation, \u003ca href=\"https://www.psychologytoday.com/us/blog/communication-success/201704/7-stages-gaslighting-in-relationship\" target=\"_blank\" rel=\"noopener\">gaslighting\u003c/a> and other tactics of control and manipulation. The artist left the relationship questioning their own sense of reality, with their self-esteem severely depleted.\u003c/p>\n\u003cp>“It was almost like a psychological thriller,” reflects Wizard Apprentice (who uses they/them pronouns). “At the beginning, you might think one character is one way, and then by the reveal of the movie, you realize everything you knew about [it] is completely altered.”\u003c/p>\n\u003cp>Once Wizard Apprentice, whose real name is Tieraney Carter, broke things off with that person, they poured themselves into research, reading \u003ca href=\"https://thoughtcatalog.com/shahida-arabi/2016/06/20-diversion-tactics-highly-manipulative-narcissists-sociopaths-and-psychopaths-use-to-silence-you/\" target=\"_blank\" rel=\"noopener\">articles\u003c/a> and watching YouTube videos from spiritual healers, mental health advocates and licensed psychologists. They learned that emotional abuse can manifest through seemingly small violations—of trust, of boundaries, of respect—that are difficult to identify until they culminate in a toxic environment for the person on the receiving end. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13850633","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It took me a full year of getting to know this person, and a year of research, to have more of a clear sense of what had happened,” says Carter. “There’s this really scary feeling of like, ‘Damn, I’ve had this experience, it’s really traumatic. I don’t know how I’m going to explain that to people.'”\u003c/p>\n\u003cp>As Carter worked toward recovery, they documented their findings on their YouTube channel, \u003ca href=\"https://www.youtube.com/channel/UC73O_7DN3eklVoq8gFov2EA\" target=\"_blank\" rel=\"noopener\">U.R.L. G.U.R.L\u003c/a>, and in their music—two therapeutic outlets that allowed them to build community with other survivors at shows and online. With their new album, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/dig-a-pit\" target=\"_blank\" rel=\"noopener\">\u003cem>Dig a Pit\u003c/em>\u003c/a>, which comes out May 10 on Oakland’s \u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Ratskin Records\u003c/a> (with a vinyl release through \u003ca href=\"https://cruisinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Cruisin Records\u003c/a>), they attempt to make sense of what happened, and to foster an open dialogue about the seldom-discussed ways emotional abuse can manifest. (In their new video series on \u003ca href=\"https://www.instagram.com/p/Bw-2CJUBGUW/\" target=\"_blank\" rel=\"noopener\">IGTV\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=G-CTnOTAFoQ\" target=\"_blank\" rel=\"noopener\">YouTube\u003c/a>, “Survivor Catchphrases,” they explore these topics every Thursday through June 27.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pAqDpfpFJB0'\n title='//www.youtube.com/embed/pAqDpfpFJB0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The tracks on \u003cem>Dig a Pit\u003c/em> take listeners through the arc of an emotionally abusive relationship and its painful aftermath. The industrial, techno-inspired opening song, “Desire to Learn,” narrates how abusers can use the get-to-know-you phase of the relationship to learn how to manipulate someone’s weaknesses (“You were studying me too / But you were looking for openings, open wounds”). “Gloves are Off,” with a funky bass line and elemental drum roll, starts with the rage-inducing realization of having been manipulated and ends with the affirmation that one can only heal oneself.\u003c/p>\n\u003cp>Later, on “Exorcism,” Carter’s songwriting gets surreal. Singing in a pitch-shifted voice so deep it’s practically subterranean, they take on the perspective of someone who takes advantage of others. “I found someone who likes me / How long do I have before I hurt her?” Wizard Apprentice growls demonically. “I think she really likes me. I find her willingness useful.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1700567050/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Carter’s stripped-down bedroom pop—music for sensitive introverts and self-help enthusiasts—is sometimes uncomfortably transparent in its introspection, like a therapy session set to synth loops. In their music and on U.R.L. G.U.R.L., Carter probes the intricacies of their relationships and self-image, always with the goal of becoming more emotionally intelligent and self-aware.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While the artist has long bared their soul in their work, it took them over a year to figure out how to talk about what happened to them. They say sharing has been healing. “I need to do that for my own sense of recovery from it, and even feeling more safe in the world,” Carter says. “How are we supposed to build communities if people don’t know this is a thing or how to engage with it?”\u003c/span>\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/G-CTnOTAFoQ'\n title='//www.youtube.com/embed/G-CTnOTAFoQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Performing the new tracks from \u003cem>Dig a Pit\u003c/em> has been affirming for Carter. The artist says that audience members have come up to them and told them about similar experiences. They want to have open conversations about what healthy relationships look like, and how to spot the signs of emotional abuse, to help other survivors see the signs before they get too deep into a toxic relationship.\u003c/p>\n\u003cp>“What’s missing is ways of understanding the complexities of these types of relationships,” Carter says, “and how anybody could discern what’s happening.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Wizard Apprentice performs at Elbo Room Oakland on May 16. Details \u003ca href=\"https://www.facebook.com/events/2178599665510682/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13856737/wizard-apprentice-gets-real-about-emotional-abuse-on-their-new-album","authors":["11387"],"categories":["arts_69"],"tags":["arts_1118","arts_3140"],"featImg":"arts_13856952","label":"arts"},"arts_13846529":{"type":"posts","id":"arts_13846529","meta":{"index":"posts_1591205157","site":"arts","id":"13846529","score":null,"sort":[1544126074000]},"guestAuthors":[],"slug":"experimental-music-festival-stasis-benefits-hybrid-series-at-pro-arts","title":"Experimental Music Festival Stasis Benefits ‘Hybrid’ Series at Pro Arts","publishDate":1544126074,"format":"standard","headTitle":"Experimental Music Festival Stasis Benefits ‘Hybrid’ Series at Pro Arts | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Since 2016, downtown Oakland gallery Pro Arts has become a staple venue for experimental electronic music and multimedia performance through its Hybrid series. Organizer Michael Daddona, who runs Ratskin Records, is well connected to local and touring artists operating in the murky intersections of noise and video, techno and performance art. But with fewer underground venues to host such gigs in Oakland, he’s found a fitting alternative at Pro Arts.\u003c/p>\n\u003cp>\u003ca href=\"https://proartsgallery.org/event/stasis-a-festival-of-sound-performance-video-art/\">Stasis: A Festival of Sound, Performance, Video & Art\u003c/a>, occurring this weekend at the nonprofit gallery, is at once a benefit for Hybrid and a celebration of the scenes it lifts up and serves. With nearly 40 musical or multimedia acts (many familiar from the Ratskin roster), along with film and video screenings and a visual art market, Stasis opens a wide window onto the margins of experimental electronic music in Oakland. \u003c/p>\n\u003cp>\u003ca href=\"http://ratskinrecords.bandcamp.com/album/pantheon-of-me\">\"Pantheon Of Me\" by SPELLLING\u003c/a>\u003c/p>\n\u003cp>Sunday, after a daytime art market, promises the record-release event for Spellling’s stirring debut full-length \u003cem>Pantheon of Me\u003c/em>, which Ratskin is reissuing on vinyl and cassette following its initial self-release last year. It comes ahead of a potential breakout moment for Berkeley songwriter Tia Cabral, whose follow-up album as Spellling is due February on high-profile New York indie Sacred Bones Records. Main support, meanwhile, is avant-pop artist \u003ca href=\"https://www.kqed.org/arts/13814982/tyler-holmes-is-here-for-your-inner-freak\">Tyler Holmes\u003c/a>.\u003c/p>\n\u003cp>Friday and Saturday performers include synthesizer-oriented soloists Beast Nest and Lance Hill, multimedia performance vehicles Wizard Apprentice and Lexagon, noise projects Head Boggle and Bran (…) Pos, and underground fixtures Burmese and \u003ca href=\"https://www.kqed.org/arts/11550707/wrecking-the-patriarchy-with-oakland-reggaeton-duo-las-sucias\">Las Sucias\u003c/a>. Tickets are $9 a day, or $25 for a three-day pass. Find the full lineup \u003ca href=\"https://www.facebook.com/events/674307272972443/\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The festival features artists working in the murky intersections of noise and video, techno and performance art. ","status":"publish","parent":0,"modified":1705026901,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":280},"headData":{"title":"Experimental Music Festival Stasis Benefits ‘Hybrid’ Series at Pro Arts | KQED","description":"The festival features artists working in the murky intersections of noise and video, techno and performance art. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Experimental Music Festival Stasis Benefits ‘Hybrid’ Series at Pro Arts","datePublished":"2018-12-06T19:54:34.000Z","dateModified":"2024-01-12T02:35:01.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13846529/experimental-music-festival-stasis-benefits-hybrid-series-at-pro-arts","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since 2016, downtown Oakland gallery Pro Arts has become a staple venue for experimental electronic music and multimedia performance through its Hybrid series. Organizer Michael Daddona, who runs Ratskin Records, is well connected to local and touring artists operating in the murky intersections of noise and video, techno and performance art. But with fewer underground venues to host such gigs in Oakland, he’s found a fitting alternative at Pro Arts.\u003c/p>\n\u003cp>\u003ca href=\"https://proartsgallery.org/event/stasis-a-festival-of-sound-performance-video-art/\">Stasis: A Festival of Sound, Performance, Video & Art\u003c/a>, occurring this weekend at the nonprofit gallery, is at once a benefit for Hybrid and a celebration of the scenes it lifts up and serves. With nearly 40 musical or multimedia acts (many familiar from the Ratskin roster), along with film and video screenings and a visual art market, Stasis opens a wide window onto the margins of experimental electronic music in Oakland. \u003c/p>\n\u003cp>\u003ca href=\"http://ratskinrecords.bandcamp.com/album/pantheon-of-me\">\"Pantheon Of Me\" by SPELLLING\u003c/a>\u003c/p>\n\u003cp>Sunday, after a daytime art market, promises the record-release event for Spellling’s stirring debut full-length \u003cem>Pantheon of Me\u003c/em>, which Ratskin is reissuing on vinyl and cassette following its initial self-release last year. It comes ahead of a potential breakout moment for Berkeley songwriter Tia Cabral, whose follow-up album as Spellling is due February on high-profile New York indie Sacred Bones Records. Main support, meanwhile, is avant-pop artist \u003ca href=\"https://www.kqed.org/arts/13814982/tyler-holmes-is-here-for-your-inner-freak\">Tyler Holmes\u003c/a>.\u003c/p>\n\u003cp>Friday and Saturday performers include synthesizer-oriented soloists Beast Nest and Lance Hill, multimedia performance vehicles Wizard Apprentice and Lexagon, noise projects Head Boggle and Bran (…) Pos, and underground fixtures Burmese and \u003ca href=\"https://www.kqed.org/arts/11550707/wrecking-the-patriarchy-with-oakland-reggaeton-duo-las-sucias\">Las Sucias\u003c/a>. Tickets are $9 a day, or $25 for a three-day pass. Find the full lineup \u003ca href=\"https://www.facebook.com/events/674307272972443/\">here\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13846529/experimental-music-festival-stasis-benefits-hybrid-series-at-pro-arts","authors":["11091"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_1118","arts_3649","arts_596","arts_3140","arts_2021","arts_3139"],"featImg":"arts_13846559","label":"arts_140"},"arts_13843411":{"type":"posts","id":"arts_13843411","meta":{"index":"posts_1591205157","site":"arts","id":"13843411","score":null,"sort":[1540408366000]},"guestAuthors":[],"slug":"bay-area-record-fest-spotlights-local-indie-labels-and-musicians","title":"Bay Area Record Fest Spotlights Local Indie Labels and Musicians","publishDate":1540408366,"format":"standard","headTitle":"Bay Area Record Fest Spotlights Local Indie Labels and Musicians | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Historically speaking, not many Bay Area artists have signed major label deals. But what the region lacks in mainstream exposure, we make up for with ingenuity. Enter \u003ca href=\"http://www.bayarearecordfair.com/\" target=\"_blank\" rel=\"noopener\">Bay Area Record Fest\u003c/a>, or BARF for short, a live music showcase and vinyl sale at Eli’s Mile High Club on Nov. 3 that provides an opportunity to get to know some of the Bay’s most prolific indie labels.[contextly_sidebar id=”5AogjXL4BLC1FHDI59gXuu10LPWkJxDX”]\u003c/p>\n\u003cp>BARF stars San Francisco rock’n’roll revivalists \u003ca href=\"https://soundcloud.com/emptycellarrecords/cool-ghouls-the-mile\" target=\"_blank\" rel=\"noopener\">Cool Ghouls\u003c/a>, a quartet repping the City’s \u003ca href=\"http://www.emptycellarrecords.com/\" target=\"_blank\" rel=\"noopener\">Empty Cellar Records\u003c/a>. \u003ca href=\"https://newcircle.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">New Circle\u003c/a>, from the rock label \u003ca href=\"https://smokingroom-label.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Smoking Room\u003c/a>, round out the bill with Oakland post-punk. [contextly_sidebar id=”pZOLbMDZ73LZzSWY3NcfDBhuxIrBNyDY”]Oakland’s \u003ca href=\"https://spellling.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Spellling\u003c/a>, a sorceress on the keyboard and loop pedal, promises to spellbind audiences on behalf of\u003ca href=\"https://www.ratskin.org/\" target=\"_blank\" rel=\"noopener\"> Ratskin Records\u003c/a>, the Town’s foremost experimental electronic label. And \u003ca href=\"https://www.textmerecords.com/same-girls/\" target=\"_blank\" rel=\"noopener\">Same Girls\u003c/a>, a San Francisco trio, brings shoegaze and garage rock to the stage on behalf of \u003ca href=\"https://www.kqed.org/arts/13816703/can-text-me-records-become-san-franciscos-new-hit-factory\" target=\"_blank\" rel=\"noopener\">Text Me Records\u003c/a>, the Mission District-based songwriting powerhouse.\u003c/p>\n\u003cp>BARF is free and its raffle benefits \u003ca href=\"http://candaid.org/\" target=\"_blank\" rel=\"noopener\">Can’d Aid Foundation\u003c/a>, which provides musical instruments to public schools. Details \u003ca href=\"http://www.bayarearecordfair.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The free mini festival comes to Eli's Mile High Club on Nov. 3. ","status":"publish","parent":0,"modified":1705027101,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":198},"headData":{"title":"Bay Area Record Fest Spotlights Local Indie Labels and Musicians | KQED","description":"The free mini festival comes to Eli's Mile High Club on Nov. 3. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Record Fest Spotlights Local Indie Labels and Musicians","datePublished":"2018-10-24T19:12:46.000Z","dateModified":"2024-01-12T02:38:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13843411/bay-area-record-fest-spotlights-local-indie-labels-and-musicians","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Historically speaking, not many Bay Area artists have signed major label deals. But what the region lacks in mainstream exposure, we make up for with ingenuity. Enter \u003ca href=\"http://www.bayarearecordfair.com/\" target=\"_blank\" rel=\"noopener\">Bay Area Record Fest\u003c/a>, or BARF for short, a live music showcase and vinyl sale at Eli’s Mile High Club on Nov. 3 that provides an opportunity to get to know some of the Bay’s most prolific indie labels.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>BARF stars San Francisco rock’n’roll revivalists \u003ca href=\"https://soundcloud.com/emptycellarrecords/cool-ghouls-the-mile\" target=\"_blank\" rel=\"noopener\">Cool Ghouls\u003c/a>, a quartet repping the City’s \u003ca href=\"http://www.emptycellarrecords.com/\" target=\"_blank\" rel=\"noopener\">Empty Cellar Records\u003c/a>. \u003ca href=\"https://newcircle.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">New Circle\u003c/a>, from the rock label \u003ca href=\"https://smokingroom-label.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Smoking Room\u003c/a>, round out the bill with Oakland post-punk. \u003c/p>\u003cp>\u003c/p>\u003cp>Oakland’s \u003ca href=\"https://spellling.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Spellling\u003c/a>, a sorceress on the keyboard and loop pedal, promises to spellbind audiences on behalf of\u003ca href=\"https://www.ratskin.org/\" target=\"_blank\" rel=\"noopener\"> Ratskin Records\u003c/a>, the Town’s foremost experimental electronic label. And \u003ca href=\"https://www.textmerecords.com/same-girls/\" target=\"_blank\" rel=\"noopener\">Same Girls\u003c/a>, a San Francisco trio, brings shoegaze and garage rock to the stage on behalf of \u003ca href=\"https://www.kqed.org/arts/13816703/can-text-me-records-become-san-franciscos-new-hit-factory\" target=\"_blank\" rel=\"noopener\">Text Me Records\u003c/a>, the Mission District-based songwriting powerhouse.\u003c/p>\n\u003cp>BARF is free and its raffle benefits \u003ca href=\"http://candaid.org/\" target=\"_blank\" rel=\"noopener\">Can’d Aid Foundation\u003c/a>, which provides musical instruments to public schools. Details \u003ca href=\"http://www.bayarearecordfair.com/\" target=\"_blank\" rel=\"noopener\">here\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13843411/bay-area-record-fest-spotlights-local-indie-labels-and-musicians","authors":["11387"],"programs":["arts_140"],"categories":["arts_69"],"tags":["arts_1118","arts_3140","arts_3338"],"featImg":"arts_13829093","label":"arts_140"},"arts_13842485":{"type":"posts","id":"arts_13842485","meta":{"index":"posts_1591205157","site":"arts","id":"13842485","score":null,"sort":[1539183616000]},"guestAuthors":[],"slug":"a-feminist-and-queer-experimental-music-show-at-proarts","title":"A Feminist and Queer Experimental Music Show at ProArts","publishDate":1539183616,"format":"image","headTitle":"A Feminist and Queer Experimental Music Show at ProArts | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Anna Luisa Petrisko creates fantastical worlds beaming with technicolor visions of lush, bountiful futures, whether in her \u003ca href=\"https://www.kqed.org/arts/11246491/black-salt-collective-agitates-the-archive-with-visions-at-somarts\" target=\"_blank\" rel=\"noopener\">sculptures\u003c/a>, performance art, sci-fi video game, \u003cem>Jeep Jeep\u003c/em>, or new EP, \u003cem>Green\u003c/em>. The multi-talented L.A. artist, who used to go by Jeepneys when she lived in the Bay Area, is heading up to Oakland on tour with experimental electronic duo Xina Xurner, whose album \u003cem>Queens of the Night \u003c/em>juxtaposes operatic vocals with guttural howls and industrial club beats. [contextly_sidebar id=”hb6ZhPsYIMAdlWWcX4xhHeO6G361uGmy”]\u003c/p>\n\u003cp>At Pro Arts in Oakland on Oct. 17, Petrisko and Xurner will join internationally touring DJ and sound artist Maria Chavez and Oakland’s Tyler Holmes, whose D.I.Y. electronic music fuses the extremes of catchy electropop melodies and abrasive, computerized noise. (With Holmes, you never quite know what you’re going to get: at one show I attended last year, they performed an acoustic set in drag as a sad clown.)\u003c/p>\n\u003cp>The evening promises an eclectic array of feminist, queer experimental pop. Details \u003ca href=\"https://www.facebook.com/events/1948165731900668/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=615616878/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Maria Chavez, Anna Luisa Petrisko, Xina Xurner and Tyler Holmes perform at the Oakland art space on Oct. 17. ","status":"publish","parent":0,"modified":1705027159,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=615616878/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":176},"headData":{"title":"A Feminist and Queer Experimental Music Show at ProArts | KQED","description":"Maria Chavez, Anna Luisa Petrisko, Xina Xurner and Tyler Holmes perform at the Oakland art space on Oct. 17. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Feminist and Queer Experimental Music Show at ProArts","datePublished":"2018-10-10T15:00:16.000Z","dateModified":"2024-01-12T02:39:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13842485/a-feminist-and-queer-experimental-music-show-at-proarts","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anna Luisa Petrisko creates fantastical worlds beaming with technicolor visions of lush, bountiful futures, whether in her \u003ca href=\"https://www.kqed.org/arts/11246491/black-salt-collective-agitates-the-archive-with-visions-at-somarts\" target=\"_blank\" rel=\"noopener\">sculptures\u003c/a>, performance art, sci-fi video game, \u003cem>Jeep Jeep\u003c/em>, or new EP, \u003cem>Green\u003c/em>. The multi-talented L.A. artist, who used to go by Jeepneys when she lived in the Bay Area, is heading up to Oakland on tour with experimental electronic duo Xina Xurner, whose album \u003cem>Queens of the Night \u003c/em>juxtaposes operatic vocals with guttural howls and industrial club beats. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At Pro Arts in Oakland on Oct. 17, Petrisko and Xurner will join internationally touring DJ and sound artist Maria Chavez and Oakland’s Tyler Holmes, whose D.I.Y. electronic music fuses the extremes of catchy electropop melodies and abrasive, computerized noise. (With Holmes, you never quite know what you’re going to get: at one show I attended last year, they performed an acoustic set in drag as a sad clown.)\u003c/p>\n\u003cp>The evening promises an eclectic array of feminist, queer experimental pop. Details \u003ca href=\"https://www.facebook.com/events/1948165731900668/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=615616878/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13842485/a-feminist-and-queer-experimental-music-show-at-proarts","authors":["11387"],"programs":["arts_140"],"categories":["arts_69"],"tags":["arts_3649","arts_596","arts_3140","arts_3139"],"featImg":"arts_13842491","label":"arts_140"},"arts_13814982":{"type":"posts","id":"arts_13814982","meta":{"index":"posts_1591205157","site":"arts","id":"13814982","score":null,"sort":[1510873252000]},"guestAuthors":[],"slug":"tyler-holmes-is-here-for-your-inner-freak","title":"Tyler Holmes Is Here For Your Inner Freak","publishDate":1510873252,"format":"image","headTitle":"Tyler Holmes Is Here For Your Inner Freak | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On a chilly recent Tuesday evening, \u003ca href=\"https://tylerholmes.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Tyler Holmes\u003c/a> meets me on the porch with all visible body parts painted red, wearing glowing colored contacts shining like reflectors. Even though I grew up on Marilyn Manson and regularly watch horror movies, I can’t help but feel slightly spooked.\u003c/p>\n\u003cp>That feeling dissipates when Holmes (who uses the pronoun “they”) cracks an easy smile and tells me that their roommate, the drag performer and musician \u003ca href=\"https://vainhein.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">vainhein\u003c/a> (who is out of drag and bustling in the kitchen), just finished painting them for my arrival. As we sit down on the couch to talk, some red makeup smudges onto the collar of Holmes’ puffer jacket, revealing a bit of the person behind the costume.\u003c/p>\n\u003cp>Holmes puts on the new Kelela album and asks me about my day, excitedly chit-chatting about their job teaching art to fourth graders at an after-school program. As I settle into the mundane, weeknight rhythm of the house, charmingly cluttered with art and musical instruments, it becomes easy to get used to the musician’s shocking appearance.\u003c/p>\n\u003cp>“I’m never gonna be Brad Pitt, that’s not my thing,” Holmes jokes.\u003c/p>\n\u003cfigure id=\"attachment_13815229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/DSC_0529-800x536.jpg\" alt=\"Tyler Holmes released their new EP, 'DEMO,' with Oakland's Ratskin Records last month. \" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes released their new EP, ‘DEMO,’ with Oakland’s Ratskin Records last month. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holmes, who is originally from Novato, has been a prominent figure in Oakland’s experimental music scene since \u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Ratskin Records\u003c/a> — the local label celebrated for its roster of forward-thinking, diverse experimental musicians — released their album, \u003ca href=\"https://tylerholmes.bandcamp.com/album/invisible-island\" target=\"_blank\" rel=\"noopener\">\u003cem>Invisible Island\u003c/em>\u003c/a>, last year. The project is a fever dream of glitchy samples, industrial synth lines, and full-out deconstructed noise. Its harsh, digitized elements dance around catchy synthpop melodies and Holmes’ raps and R&B vocal stylings. With Holmes’ savvy splicing of these disparate influences, the adventurous project makes its challenging content accessible through playful, poppy fun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’ve always responded to variety, so I think expressing variety in a way that is palatable and pretty is really what I would like to do,” Holmes says.\u003c/p>\n\u003cfigure id=\"attachment_13815230\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final.jpg\" alt=\"Makeup artist Jader transformed Tyler Holmes into an otherworldly alien for the album art of Holmes' project, 'Invisible Island.'\" width=\"500\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final-375x563.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Makeup artist Jader transformed Tyler Holmes into an otherworldly alien for the album art of Holmes’ project, ‘Invisible Island.’ \u003ccite>(Jader)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holmes built on that foundation for their new EP, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/tyler-holmes-demo\" target=\"_blank\" rel=\"noopener\">\u003cem>DEMO\u003c/em>\u003c/a>, which came out last month digitally and on cassette through Ratskin. It takes its name from the idea that human beings are always evolving — a demo version of ourselves, never a finished product.\u003c/p>\n\u003cp>Holmes made the project in the wake of a four-year relationship. “\u003cem>Invisible Island\u003c/em> had a lot of things with video games and drugs, being lit,” says Holmes. “\u003cem>DEMO\u003c/em> is a little bit more introspective; it’s more about me viewing myself as a demo or an almost finished version and being okay with the different demos instead of being any one thing.”\u003c/p>\n\u003cp>Unlike the hodgepodge of sounds on \u003cem>Invisible Island\u003c/em>, \u003cem>DEMO\u003c/em> narrows its focus to experimental pop with an interplay of textured electronics that shift from soaring and melodic to gritty pounding to droning. The project is eclectic in typical Holmes fashion, but the artist swaps the rap and R&B elements of their previous work for a deeper exploration of electronic subgenres like noise, synthpop, and industrial.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=773938110/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Holmes’ unusual, technologically ancient recording process — which relies on primitive software, distorted and looped vocals, homemade instruments, and field recordings — is as inventive as their sound. “I still have my old desktop computer that’s probably 20 years old, a computer mic, and I use Sound Recorder 1994 or 1995. It records 60 second blocks of sounds but it has really good control because you can double it, reverse it, chop it to a quarter of a second, so I use that to sample drum sounds or make drum sounds out of random things.”\u003c/p>\n\u003cp>The in-between-ness of Holmes’ music exemplifies other aspects of their life that defy classification. “We change everyday, so trying to pin that down is hard to me,” they say. “I’m a lot of things: I’m a queer person, I’m a mixed-race person. For me, trying to attach to any of those like, I’m an R&B artist or I’m a rapper — even when I was a rapper, I’d sample Grouper for my beats because I wanted more texture and more stuff in there.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2262840849/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Fittingly, Holmes runs with a circle of gender non-conforming artists who are constantly reinventing the wheel of — well, any and every art form they can, really. \u003ca href=\"http://www.jadervision.com/\" target=\"_blank\" rel=\"noopener\">Jader\u003c/a>, the San Francisco performer and makeup artist whose otherworldly looks make \u003ca href=\"https://www.instagram.com/heyparkerday/?hl=en\" target=\"_blank\" rel=\"noopener\">Parker Day’s photography\u003c/a> seem tame, created Holmes’ technicolor, bug-eyed alien getup for the album art of \u003cem>Invisible Island\u003c/em>. For \u003ca href=\"https://tylerholmes.bandcamp.com/album/s-p-o-r-t\" target=\"_blank\" rel=\"noopener\">\u003cem>S P O R T\u003c/em>\u003c/a>, Holmes’ 2015 project Ratskin reissued on cassette last month, Jader painted Holmes green and turquoise and smashed their face into a piece of glass; their face paint splatters against the two-dimensional surface, making Holmes look more like a watercolor painting than a flesh-and-blood human.\u003c/p>\n\u003cfigure id=\"attachment_13815235\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815235\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015.jpg\" alt=\"Jader painted Tyler Holmes' face and smashed it against glass for the album art of 'S P O R T.'\" width=\"500\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015-375x563.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Jader painted Tyler Holmes’ face and smashed it against glass for the album art of ‘S P O R T.’ \u003ccite>(Jader)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This past summer, Holmes went on a cross-country tour with longtime collaborators San Cha, Sister Mantos, and Reyna the Ripper. (San Cha, Holmes, vainhein, and San Francisco drag queen \u003ca href=\"https://ww2.kqed.org/arts/2017/06/20/storytime-and-stilettos-with-persia/\" target=\"_blank\" rel=\"noopener\">Persia\u003c/a> once had a group called Daddie$ Pla$tik, whose anti-gentrification electroclash song “\u003ca href=\"https://www.youtube.com/watch?v=5xyqbc7SQ4w\" target=\"_blank\" rel=\"noopener\">Google Google Apps Apps\u003c/a>” made a splash in the local scene in 2013.) Unfortunately, the tour ended in an unexpected tragedy: Reyna the Ripper was shot in the lung during a random attack in Puerto Rico, and San Cha and Holmes missed their flights back to the mainland to care for their friend.\u003c/p>\n\u003cp>“San Cha and I were sleeping on an air mattress in a hospital in Puerto Rico for a month,” says Holmes, breathing out a sigh that their friend is recovering and has returned to the States. “Puerto Rico ended kind of abruptly, and that whole experience was so scary and so much drama that I said, ‘I want to come home and teach my kids and that’s it.'”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3496251761/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Still, they agreed to two final shows before taking a temporary hiatus: They played a release show for \u003cem>DEMO\u003c/em> at ProArts Gallery in Downtown Oakland for Ratskin Records’ residency there, and they have an upcoming performance at the San Francisco gay bar the Stud alongside several other experimental electronic artists and drag performers, including Persia.\u003c/p>\n\u003cp>“This is what I’m here for,” Holmes says. “To bring the freak everywhere and tell people and show people and share their freakiness with them. Like, ‘Yes, y’all!'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Tyler Holmes performs at the Stud in San Francisco on Nov. 17. Details \u003ca href=\"https://www.studsf.com/new-events/https/wwwfacebookcom/events/286803218505185\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/DSC_0536-1-800x450.jpg\" alt=\"Tyler Holmes' eclectic, DIY brand of electronic music is as off-kilter as their daring makeup looks.\" width=\"0\" height=\"0\">\u003c/p>\n\n","blocks":[],"excerpt":"The experimental artist's new EP embraces the in-between-ness of genre, gender, and identity. ","status":"publish","parent":0,"modified":1705029091,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=773938110/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=2262840849/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3496251761/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1185},"headData":{"title":"Tyler Holmes Is Here For Your Inner Freak | KQED","description":"The experimental artist's new EP embraces the in-between-ness of genre, gender, and identity. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Tyler Holmes Is Here For Your Inner Freak","datePublished":"2017-11-16T23:00:52.000Z","dateModified":"2024-01-12T03:11:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13814982/tyler-holmes-is-here-for-your-inner-freak","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a chilly recent Tuesday evening, \u003ca href=\"https://tylerholmes.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Tyler Holmes\u003c/a> meets me on the porch with all visible body parts painted red, wearing glowing colored contacts shining like reflectors. Even though I grew up on Marilyn Manson and regularly watch horror movies, I can’t help but feel slightly spooked.\u003c/p>\n\u003cp>That feeling dissipates when Holmes (who uses the pronoun “they”) cracks an easy smile and tells me that their roommate, the drag performer and musician \u003ca href=\"https://vainhein.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">vainhein\u003c/a> (who is out of drag and bustling in the kitchen), just finished painting them for my arrival. As we sit down on the couch to talk, some red makeup smudges onto the collar of Holmes’ puffer jacket, revealing a bit of the person behind the costume.\u003c/p>\n\u003cp>Holmes puts on the new Kelela album and asks me about my day, excitedly chit-chatting about their job teaching art to fourth graders at an after-school program. As I settle into the mundane, weeknight rhythm of the house, charmingly cluttered with art and musical instruments, it becomes easy to get used to the musician’s shocking appearance.\u003c/p>\n\u003cp>“I’m never gonna be Brad Pitt, that’s not my thing,” Holmes jokes.\u003c/p>\n\u003cfigure id=\"attachment_13815229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/DSC_0529-800x536.jpg\" alt=\"Tyler Holmes released their new EP, 'DEMO,' with Oakland's Ratskin Records last month. \" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes released their new EP, ‘DEMO,’ with Oakland’s Ratskin Records last month. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holmes, who is originally from Novato, has been a prominent figure in Oakland’s experimental music scene since \u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Ratskin Records\u003c/a> — the local label celebrated for its roster of forward-thinking, diverse experimental musicians — released their album, \u003ca href=\"https://tylerholmes.bandcamp.com/album/invisible-island\" target=\"_blank\" rel=\"noopener\">\u003cem>Invisible Island\u003c/em>\u003c/a>, last year. The project is a fever dream of glitchy samples, industrial synth lines, and full-out deconstructed noise. Its harsh, digitized elements dance around catchy synthpop melodies and Holmes’ raps and R&B vocal stylings. With Holmes’ savvy splicing of these disparate influences, the adventurous project makes its challenging content accessible through playful, poppy fun.\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’ve always responded to variety, so I think expressing variety in a way that is palatable and pretty is really what I would like to do,” Holmes says.\u003c/p>\n\u003cfigure id=\"attachment_13815230\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final.jpg\" alt=\"Makeup artist Jader transformed Tyler Holmes into an otherworldly alien for the album art of Holmes' project, 'Invisible Island.'\" width=\"500\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final-375x563.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Makeup artist Jader transformed Tyler Holmes into an otherworldly alien for the album art of Holmes’ project, ‘Invisible Island.’ \u003ccite>(Jader)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holmes built on that foundation for their new EP, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/tyler-holmes-demo\" target=\"_blank\" rel=\"noopener\">\u003cem>DEMO\u003c/em>\u003c/a>, which came out last month digitally and on cassette through Ratskin. It takes its name from the idea that human beings are always evolving — a demo version of ourselves, never a finished product.\u003c/p>\n\u003cp>Holmes made the project in the wake of a four-year relationship. “\u003cem>Invisible Island\u003c/em> had a lot of things with video games and drugs, being lit,” says Holmes. “\u003cem>DEMO\u003c/em> is a little bit more introspective; it’s more about me viewing myself as a demo or an almost finished version and being okay with the different demos instead of being any one thing.”\u003c/p>\n\u003cp>Unlike the hodgepodge of sounds on \u003cem>Invisible Island\u003c/em>, \u003cem>DEMO\u003c/em> narrows its focus to experimental pop with an interplay of textured electronics that shift from soaring and melodic to gritty pounding to droning. The project is eclectic in typical Holmes fashion, but the artist swaps the rap and R&B elements of their previous work for a deeper exploration of electronic subgenres like noise, synthpop, and industrial.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=773938110/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Holmes’ unusual, technologically ancient recording process — which relies on primitive software, distorted and looped vocals, homemade instruments, and field recordings — is as inventive as their sound. “I still have my old desktop computer that’s probably 20 years old, a computer mic, and I use Sound Recorder 1994 or 1995. It records 60 second blocks of sounds but it has really good control because you can double it, reverse it, chop it to a quarter of a second, so I use that to sample drum sounds or make drum sounds out of random things.”\u003c/p>\n\u003cp>The in-between-ness of Holmes’ music exemplifies other aspects of their life that defy classification. “We change everyday, so trying to pin that down is hard to me,” they say. “I’m a lot of things: I’m a queer person, I’m a mixed-race person. For me, trying to attach to any of those like, I’m an R&B artist or I’m a rapper — even when I was a rapper, I’d sample Grouper for my beats because I wanted more texture and more stuff in there.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2262840849/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Fittingly, Holmes runs with a circle of gender non-conforming artists who are constantly reinventing the wheel of — well, any and every art form they can, really. \u003ca href=\"http://www.jadervision.com/\" target=\"_blank\" rel=\"noopener\">Jader\u003c/a>, the San Francisco performer and makeup artist whose otherworldly looks make \u003ca href=\"https://www.instagram.com/heyparkerday/?hl=en\" target=\"_blank\" rel=\"noopener\">Parker Day’s photography\u003c/a> seem tame, created Holmes’ technicolor, bug-eyed alien getup for the album art of \u003cem>Invisible Island\u003c/em>. For \u003ca href=\"https://tylerholmes.bandcamp.com/album/s-p-o-r-t\" target=\"_blank\" rel=\"noopener\">\u003cem>S P O R T\u003c/em>\u003c/a>, Holmes’ 2015 project Ratskin reissued on cassette last month, Jader painted Holmes green and turquoise and smashed their face into a piece of glass; their face paint splatters against the two-dimensional surface, making Holmes look more like a watercolor painting than a flesh-and-blood human.\u003c/p>\n\u003cfigure id=\"attachment_13815235\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815235\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015.jpg\" alt=\"Jader painted Tyler Holmes' face and smashed it against glass for the album art of 'S P O R T.'\" width=\"500\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015-375x563.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Jader painted Tyler Holmes’ face and smashed it against glass for the album art of ‘S P O R T.’ \u003ccite>(Jader)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This past summer, Holmes went on a cross-country tour with longtime collaborators San Cha, Sister Mantos, and Reyna the Ripper. (San Cha, Holmes, vainhein, and San Francisco drag queen \u003ca href=\"https://ww2.kqed.org/arts/2017/06/20/storytime-and-stilettos-with-persia/\" target=\"_blank\" rel=\"noopener\">Persia\u003c/a> once had a group called Daddie$ Pla$tik, whose anti-gentrification electroclash song “\u003ca href=\"https://www.youtube.com/watch?v=5xyqbc7SQ4w\" target=\"_blank\" rel=\"noopener\">Google Google Apps Apps\u003c/a>” made a splash in the local scene in 2013.) Unfortunately, the tour ended in an unexpected tragedy: Reyna the Ripper was shot in the lung during a random attack in Puerto Rico, and San Cha and Holmes missed their flights back to the mainland to care for their friend.\u003c/p>\n\u003cp>“San Cha and I were sleeping on an air mattress in a hospital in Puerto Rico for a month,” says Holmes, breathing out a sigh that their friend is recovering and has returned to the States. “Puerto Rico ended kind of abruptly, and that whole experience was so scary and so much drama that I said, ‘I want to come home and teach my kids and that’s it.'”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3496251761/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Still, they agreed to two final shows before taking a temporary hiatus: They played a release show for \u003cem>DEMO\u003c/em> at ProArts Gallery in Downtown Oakland for Ratskin Records’ residency there, and they have an upcoming performance at the San Francisco gay bar the Stud alongside several other experimental electronic artists and drag performers, including Persia.\u003c/p>\n\u003cp>“This is what I’m here for,” Holmes says. “To bring the freak everywhere and tell people and show people and share their freakiness with them. Like, ‘Yes, y’all!'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Tyler Holmes performs at the Stud in San Francisco on Nov. 17. Details \u003ca href=\"https://www.studsf.com/new-events/https/wwwfacebookcom/events/286803218505185\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/DSC_0536-1-800x450.jpg\" alt=\"Tyler Holmes' eclectic, DIY brand of electronic music is as off-kilter as their daring makeup looks.\" width=\"0\" height=\"0\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13814982/tyler-holmes-is-here-for-your-inner-freak","authors":["11387"],"categories":["arts_69"],"tags":["arts_1118","arts_596","arts_3140","arts_3139"],"featImg":"arts_13815228","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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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":"13"},"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":"4"},"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","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","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"}},"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. 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