window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_11370077": {
"type": "attachments",
"id": "arts_11370077",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11370077",
"found": true
},
"parent": 11369973,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DD02D-e1456791943753-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DD02D-e1456791943753-400x295.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 295
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DD02D-e1456791943753-960x707.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 707
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DD02D-e1456791943753-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DD02D-e1456791943753.jpg",
"width": 5155,
"height": 3797
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DD02D-e1456791943753-1180x869.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 869
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DD02D-e1456791943753-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DD02D-e1456791943753-800x589.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 589
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DD02D-e1456791943753-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DD02D-e1456791943753-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DD02D-e1456791943753-1920x1414.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1414
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DD02D-e1456791943753-1180x869.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 869
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DD02D-e1456791943753-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DD02D-e1456791943753-768x566.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 566
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DD02D-e1456791943753-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1456791772,
"modified": 1456791913,
"caption": "Christopher Tierney (Johnny) and Rachel Boone (Baby) in the North American tour of 'Dirty Dancing'",
"description": "Christopher Tierney (Johnny) and Rachel Boone (Baby) in the North American tour of 'Dirty Dancing'",
"title": "DD02D",
"credit": "Photo: Matthew Murphy",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11372305": {
"type": "attachments",
"id": "arts_11372305",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11372305",
"found": true
},
"parent": 11370944,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/DopeyFreshscreenshot-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/DopeyFreshscreenshot-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/DopeyFreshscreenshot-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/DopeyFreshscreenshot-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/DopeyFreshscreenshot.jpg",
"width": 1583,
"height": 891
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/DopeyFreshscreenshot-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/DopeyFreshscreenshot-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/DopeyFreshscreenshot-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/DopeyFreshscreenshot-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/DopeyFreshscreenshot-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/DopeyFreshscreenshot-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/DopeyFreshscreenshot-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/DopeyFreshscreenshot-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/DopeyFreshscreenshot-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1456870617,
"modified": 1456870617,
"caption": null,
"description": null,
"title": "DopeyFreshscreenshot",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11364721": {
"type": "attachments",
"id": "arts_11364721",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11364721",
"found": true
},
"parent": 11364611,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Farruquito-Aitor-Lara-e1456608581318-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Farruquito-Aitor-Lara-e1456608581318-400x238.png",
"width": 400,
"mimeType": "image/png",
"height": 238
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Farruquito-Aitor-Lara-e1456608581318-960x572.png",
"width": 960,
"mimeType": "image/png",
"height": 572
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Farruquito-Aitor-Lara-e1456608581318-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Farruquito-Aitor-Lara-e1456608581318.png",
"width": 1216,
"height": 724
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Farruquito-Aitor-Lara-e1456608581318-1180x703.png",
"width": 1180,
"mimeType": "image/png",
"height": 703
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Farruquito-Aitor-Lara-e1456608581318-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Farruquito-Aitor-Lara-e1456608581318-800x476.png",
"width": 800,
"mimeType": "image/png",
"height": 476
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Farruquito-Aitor-Lara-e1456608581318-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Farruquito-Aitor-Lara-e1456608581318-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Farruquito-Aitor-Lara-e1456608581318-1180x703.png",
"width": 1180,
"mimeType": "image/png",
"height": 703
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Farruquito-Aitor-Lara-e1456608581318-75x75.png",
"width": 75,
"mimeType": "image/png",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Farruquito-Aitor-Lara-e1456608581318-768x457.png",
"width": 768,
"mimeType": "image/png",
"height": 457
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Farruquito-Aitor-Lara-e1456608581318-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
}
},
"publishDate": 1456608533,
"modified": 1456608568,
"caption": "The Sevillan flamenco star Farruquito",
"description": "The Sevillan flamenco star Farruquito",
"title": "Farruquito Aitor Lara",
"credit": "Photo: Aito Lara",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11360007": {
"type": "attachments",
"id": "arts_11360007",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11360007",
"found": true
},
"parent": 11359048,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Melba-Liston-400x266.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 266
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Melba-Liston.jpg",
"width": 500,
"height": 333
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Melba-Liston-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Melba-Liston-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Melba-Liston-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Melba-Liston-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Melba-Liston-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1456453596,
"modified": 1456453609,
"caption": "Trombonist Melba Liston",
"description": null,
"title": "Trombonist Melba Liston",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11359530": {
"type": "attachments",
"id": "arts_11359530",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11359530",
"found": true
},
"parent": 11359528,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Gennadi-Nedvigin-e1456444939704-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Gennadi-Nedvigin-e1456444939704.jpg",
"width": 505,
"height": 284
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Gennadi-Nedvigin-e1456444939704-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Gennadi-Nedvigin-e1456444939704-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Gennadi-Nedvigin-e1456444939704-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Gennadi-Nedvigin-e1456444939704-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Gennadi-Nedvigin-e1456444939704-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1456440280,
"modified": 1456440333,
"caption": "Gennadi Nedvigin",
"description": "Gennadi Nedvigin",
"title": "Gennadi Nedvigin",
"credit": "Photo Credit: Chris Hardy",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_20717": {
"type": "attachments",
"id": "pop_20717",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "20717",
"found": true
},
"parent": 20675,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/02/D2-1-400x225.gif",
"width": 400,
"mimeType": "image/gif",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/02/D2-1-672x372.gif",
"width": 672,
"mimeType": "image/gif",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/02/D2-1.gif",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/02/D2-1-96x96.gif",
"width": 96,
"mimeType": "image/gif",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/02/D2-1-800x450.gif",
"width": 800,
"mimeType": "image/gif",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/02/D2-1-64x64.gif",
"width": 64,
"mimeType": "image/gif",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/02/D2-1-75x75.gif",
"width": 75,
"mimeType": "image/gif",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/02/D2-1-32x32.gif",
"width": 32,
"mimeType": "image/gif",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/02/D2-1-768x432.gif",
"width": 768,
"mimeType": "image/gif",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/02/D2-1-128x128.gif",
"width": 128,
"mimeType": "image/gif",
"height": 128
}
},
"publishDate": 1456345230,
"modified": 1456345230,
"caption": null,
"description": null,
"title": "D2",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11350217": {
"type": "attachments",
"id": "arts_11350217",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11350217",
"found": true
},
"parent": 11347526,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/MannersCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/MannersCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/MannersCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/MannersCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/MannersCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/MannersCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/MannersCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/MannersCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/MannersCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/MannersCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/MannersCover-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/MannersCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/MannersCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/MannersCover-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/MannersCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1456161270,
"modified": 1456161304,
"caption": "Titania Kumeh and Sophia Wang in 'Making Plain' at Interface Gallery, Oakland.",
"description": null,
"title": "MannersCover",
"credit": "Photo: Lisa Rybovich Crallé",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11344490": {
"type": "attachments",
"id": "arts_11344490",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11344490",
"found": true
},
"parent": 11344489,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/svb-featured-e1455992079866-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/svb-featured-e1455992079866-400x260.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 260
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/svb-featured-e1455992079866-960x624.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 624
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/svb-featured-e1455992079866-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/svb-featured-e1455992079866.jpg",
"width": 1492,
"height": 970
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/svb-featured-e1455992079866-1180x767.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 767
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/svb-featured-e1455992079866-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/svb-featured-e1455992079866-800x520.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 520
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/svb-featured-e1455992079866-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/svb-featured-e1455992079866-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/svb-featured-e1455992079866-1180x767.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 767
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/svb-featured-e1455992079866-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/svb-featured-e1455992079866-768x499.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 499
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/svb-featured-e1455992079866-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1455992064,
"modified": 1455992361,
"caption": "A scene from Silicon Valley Ballet’s ‘Director’s Choice’ program\n",
"description": "A scene from Silicon Valley Ballet’s ‘Director’s Choice’ program\n",
"title": "svb featured",
"credit": "Photo: Alejandro Gomez/Silicon Valley Ballet",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11316703": {
"type": "attachments",
"id": "arts_11316703",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11316703",
"found": true
},
"parent": 11316687,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DriftwoodVillageCOVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DriftwoodVillageCOVER-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DriftwoodVillageCOVER-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DriftwoodVillageCOVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DriftwoodVillageCOVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DriftwoodVillageCOVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DriftwoodVillageCOVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DriftwoodVillageCOVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DriftwoodVillageCOVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DriftwoodVillageCOVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DriftwoodVillageCOVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DriftwoodVillageCOVER-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DriftwoodVillageCOVER-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DriftwoodVillageCOVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/DriftwoodVillageCOVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1455145702,
"modified": 1455145907,
"caption": "'Driftwood Village--Community,' Sea Ranch, CA. Experiments in Environment Workshop, July 6, 1968.",
"description": null,
"title": "DriftwoodVillageCOVER",
"credit": "Courtesy Lawrence Halprin Collection, The Architetural Archives, University of Pennsylvania",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11296348": {
"type": "attachments",
"id": "arts_11296348",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11296348",
"found": true
},
"parent": 11296345,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/credit-Madison-Young-e1454449947878-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/credit-Madison-Young-e1454449947878-400x274.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 274
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/credit-Madison-Young-e1454449947878-960x658.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 658
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/credit-Madison-Young-e1454449947878-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/credit-Madison-Young-e1454449947878.jpg",
"width": 3467,
"height": 2378
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/credit-Madison-Young-e1454449947878-1180x809.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 809
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/credit-Madison-Young-e1454449947878-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/credit-Madison-Young-e1454449947878-800x549.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 549
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/credit-Madison-Young-e1454449947878-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/credit-Madison-Young-e1454449947878-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/credit-Madison-Young-e1454449947878-1920x1317.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1317
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/credit-Madison-Young-e1454449947878-1180x809.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 809
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/credit-Madison-Young-e1454449947878-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/credit-Madison-Young-e1454449947878-768x527.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 527
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/credit-Madison-Young-e1454449947878-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1454449915,
"modified": 1454449990,
"caption": "Performance artist, erotic filmmaker and author Madison Young",
"description": "Performance artist, erotic filmmaker and author Madison Young",
"title": "credit Madison Young",
"credit": "Photo: Courtesy of Madison Young",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11301760": {
"type": "attachments",
"id": "arts_11301760",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11301760",
"found": true
},
"parent": 11300926,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/RS18325_IMG_3814.JPG-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/RS18325_IMG_3814.JPG-qut-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/RS18325_IMG_3814.JPG-qut-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/RS18325_IMG_3814.JPG-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/RS18325_IMG_3814.JPG-qut.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/RS18325_IMG_3814.JPG-qut-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/RS18325_IMG_3814.JPG-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/RS18325_IMG_3814.JPG-qut-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/RS18325_IMG_3814.JPG-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/RS18325_IMG_3814.JPG-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/RS18325_IMG_3814.JPG-qut-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/RS18325_IMG_3814.JPG-qut-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/RS18325_IMG_3814.JPG-qut-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/RS18325_IMG_3814.JPG-qut-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/RS18325_IMG_3814.JPG-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1454626815,
"modified": 1454627870,
"caption": "A traditional lion dance entrances the crowd at a recent Lunar New Year Celebration in Redwood City's courthouse square.",
"description": "A traditional lion dance entrances the crowd at a recent Lunar New Year Celebration in Redwood City's courthouse square.",
"title": "RS18325_IMG_3814.JPG-qut",
"credit": "Courtesy Jeff Gee",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11296231": {
"type": "attachments",
"id": "arts_11296231",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11296231",
"found": true
},
"parent": 11295559,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ballerinas_tale-04-press-400x226.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 226
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ballerinas_tale-04-press-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ballerinas_tale-04-press.jpg",
"width": 800,
"height": 451
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ballerinas_tale-04-press-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ballerinas_tale-04-press-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ballerinas_tale-04-press-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ballerinas_tale-04-press-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ballerinas_tale-04-press-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ballerinas_tale-04-press-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ballerinas_tale-04-press-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1454446525,
"modified": 1454446561,
"caption": "Misty Copeland. BRIC Arts House. December 1, 2013.",
"description": "Misty Copeland. BRIC Arts House. December 1, 2013.",
"title": "Misty Copeland. BRIC Arts House. December 1, 2013.",
"credit": "Courtesy: Oskar Landi",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"ehapsis": {
"type": "authors",
"id": "27",
"meta": {
"index": "authors_1716337520",
"id": "27",
"found": true
},
"name": "Emmanuel Hapsis",
"firstName": "Emmanuel",
"lastName": "Hapsis",
"slug": "ehapsis",
"email": "ehapsis@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Emmanuel Hapsis is the creator and editor of KQED Pop and also the host of \u003cem>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>\u003c/em>. He studied creative writing at University of Maryland and went on to receive his MFA in the field from California College of the Arts. In his free time, he sings his heart out at karaoke.",
"avatar": "https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g",
"twitter": "xcusemybeauty",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Emmanuel Hapsis | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ehapsis"
},
"cmusiker": {
"type": "authors",
"id": "32",
"meta": {
"index": "authors_1716337520",
"id": "32",
"found": true
},
"name": "Cy Musiker",
"firstName": "Cy",
"lastName": "Musiker",
"slug": "cmusiker",
"email": "cmusiker@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Cy Musiker is a former co-host of The Do List and a former reporter covering the arts for KQED News and The California Report. He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.",
"avatar": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cy Musiker | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmusiker"
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"rachael-myrow": {
"type": "authors",
"id": "251",
"meta": {
"index": "authors_1716337520",
"id": "251",
"found": true
},
"name": "Rachael Myrow",
"firstName": "Rachael",
"lastName": "Myrow",
"slug": "rachael-myrow",
"email": "rmyrow@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Senior Editor of KQED's Silicon Valley News Desk",
"bio": "• I write and edit stories about how Silicon Valley power and policies shape everyday life in California. I’m also passionate about making Bay Area history and culture more accessible to a broad public. • I’ve been a journalist for most of my life, starting in high school with The Franklin Press in Los Angeles, where I grew up. While earning my first degree in English at UC Berkeley, I got my start in public radio at KALX-FM. After completing a second degree in journalism at Cal, I landed my first professional job at Marketplace, then moved on to KPCC (now LAist), and then KQED, where I hosted The California Report for more than seven years. • My reporting has appeared on NPR, The World, WBUR’s \u003ci>Here & Now\u003c/i>, and the BBC. I also guest host for KQED’s \u003ci>Forum\u003c/i>, as well as the Commonwealth Club in San Francisco. • I speak periodically on media, democracy and technology issues, and do voiceover work for documentaries and educational video projects. • Outside of the studio, you'll find me hiking Bay Area trails and whipping up Insta-ready meals in my kitchen. • I do not accept gifts, money, or favors from anyone connected to my reporting, I don't pay people for information, and I do not support or donate to political causes. • I strive to treat the people I report on with fairness, honesty, and respect. I also recognize there are often multiple sides to a story and work to verify information through multiple sources and documentation. If I get something wrong, I correct it.",
"avatar": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twitter": "rachaelmyrow",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": "https://www.linkedin.com/in/rachaelmyrow/",
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"edit_others_posts",
"editor"
]
},
{
"site": "futureofyou",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"author"
]
}
],
"headData": {
"title": "Rachael Myrow | KQED",
"description": "Senior Editor of KQED's Silicon Valley News Desk",
"ogImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/rachael-myrow"
},
"kwhalen": {
"type": "authors",
"id": "3248",
"meta": {
"index": "authors_1716337520",
"id": "3248",
"found": true
},
"name": "Kelly Whalen",
"firstName": "Kelly",
"lastName": "Whalen",
"slug": "kwhalen",
"email": "kwhalen@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "Senior Video Producer",
"bio": "Kelly Whalen is a filmmaker and educator who directs and produces social justice documentaries and award-winning arts and culture web series. She is the creator of KQED Arts’ three-time Webby Award-winning YouTube series \u003cem>If Cities Could Dance\u003c/em>, featuring dancers across the country representing their cities’ signature moves, and the director of \u003cem>When the Waters Get Deep\u003c/em>, a documentary about Oakland-based artists SOL Development and their work toward healing their communities’ trauma from gun violence.",
"avatar": "https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g",
"twitter": "kellyfilmmaker",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kelly Whalen | KQED",
"description": "Senior Video Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kwhalen"
},
"cveltman": {
"type": "authors",
"id": "8608",
"meta": {
"index": "authors_1716337520",
"id": "8608",
"found": true
},
"name": "Chloe Veltman",
"firstName": "Chloe",
"lastName": "Veltman",
"slug": "cveltman",
"email": "cveltman@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Arts and Culture Reporter",
"bio": "Chloe Veltman is a former arts and culture reporter for KQED. Prior to joining the organization, she launched and led the arts bureau at Colorado Public Radio, served as the Bay Area's culture columnist for the New York Times, and was the founder, host and executive producer of VoiceBox, a national award-winning weekly podcast/radio show and live events series all about the human voice. Chloe is the recipient of numerous prizes, grants and fellowships including a Webby Award for her work on interactive storytelling, both the John S Knight Journalism Fellowship and Humanities Center Fellowship at Stanford University, the Sundance Arts Writing Fellowship and a Library of Congress Research Fellowship. She is the author of the book \"On Acting\" and has appeared as a guest lecturer at Yale University and the San Francisco Conservatory of Music among other institutions. She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twitter": "chloeveltman",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": []
}
],
"headData": {
"title": "Chloe Veltman | KQED",
"description": "Arts and Culture Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cveltman"
},
"eholmes": {
"type": "authors",
"id": "8623",
"meta": {
"index": "authors_1716337520",
"id": "8623",
"found": true
},
"name": "Emily Holmes",
"firstName": "Emily",
"lastName": "Holmes",
"slug": "eholmes",
"email": "emily@artpractical.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "\u003ca href=\"http://www.emilykholmes.com/\" target=\"_blank\" rel=\"noopener\">Emily Holmes \u003c/a>is a Sacramento-based writer and editor.",
"avatar": "https://secure.gravatar.com/avatar/3415140cdd1ccd2cb8e99eb21568553a?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Emily Holmes | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/3415140cdd1ccd2cb8e99eb21568553a?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3415140cdd1ccd2cb8e99eb21568553a?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/eholmes"
},
"cescoda": {
"type": "authors",
"id": "11206",
"meta": {
"index": "authors_1716337520",
"id": "11206",
"found": true
},
"name": "Carla Escoda",
"firstName": "Carla",
"lastName": "Escoda",
"slug": "cescoda",
"email": "ballettothepeople@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Carla can most often be found in theatres, airports and on airplanes, writing about dance and the arts for various websites whenever she can find wi-fi. Her blog Ballet to the People<\u003ca href=\"http://ballettothepeople.com/\" target=\"_blank\" rel=\"noreferrer\">http://\u003cwbr />ballettothepeople.com\u003c/a>> has become a street corner where dance-lovers enjoy loitering and plotting the revolution which will renew the populist roots of ballet.\r\n\u003cspan class=\"im\">\r\nIn her previous lives, Carla worked in scientific research, then in project finance in Asia. Prior to that, she trained as a ballet and modern dancer, and performed with the Yaledancers while getting her undergraduate degrees in Engineering and Applied Science and French Literature, and her graduate degree in Engineering.\u003c/span>",
"avatar": "https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
}
],
"headData": {
"title": "Carla Escoda | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cescoda"
},
"crnoveno": {
"type": "authors",
"id": "11208",
"meta": {
"index": "authors_1716337520",
"id": "11208",
"found": true
},
"name": "Creo Noveno",
"firstName": "Creo",
"lastName": "Noveno",
"slug": "crnoveno",
"email": "creonoveno@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Creo Noveno | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/crnoveno"
},
"msanchez": {
"type": "authors",
"id": "11226",
"meta": {
"index": "authors_1716337520",
"id": "11226",
"found": true
},
"name": "María Soledad Sánchez",
"firstName": "María",
"lastName": "Soledad Sánchez",
"slug": "msanchez",
"email": "mssanchezy1@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/8efb6cc0a92177d8c13207157ba3e05f?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "María Soledad Sánchez | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/8efb6cc0a92177d8c13207157ba3e05f?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/8efb6cc0a92177d8c13207157ba3e05f?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/msanchez"
}
},
"pagesReducer": {
"arts_category_dance": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"score": 12.282768
},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"title": "Dance",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 33
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=dance",
"seeMore": false,
"paginated": true,
"page": 33
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_11369973": {
"type": "posts",
"id": "arts_11369973",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11369973",
"score": null,
"sort": [
1456934415000
]
},
"guestAuthors": [],
"slug": "why-women-over-40-should-go-see-dirty-dancing-musical",
"title": "Why Women Over 40 Should Go See 'Dirty Dancing' Musical",
"publishDate": 1456934415,
"format": "standard",
"headTitle": "Why Women Over 40 Should Go See ‘Dirty Dancing’ Musical | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Broadway has long been a nostalgia machine, taking bobby soxers, baby boomers and the bell-bottom crowd back, respectively, to the 1950s (\u003cem>Grease\u003c/em>), 1960s (\u003cem>Hair\u003c/em>) and 1970s (\u003cem>Mama Mia!\u003c/em>) with unabashed euphoria.\u003c/p>\n\u003cp>The musical adaptation of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=dirtydancing&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Dirty Dancing\u003c/a>\u003c/em>, based on the 1987 feelgood movie romance starring Patrick Swayze and Jennifer Grey, does the same thing for those of us who came of age at a time when \u003cem>Fame\u003c/em> and \u003cem>Flashdance\u003c/em> were all the rage. Never mind that \u003cem>Dirty Dancing\u003c/em> is set in the summer of 1963; every teenage girl who saw the movie when it came out procured a pair of denim cutoffs and a taste for dudes in wife-beaters and quiffs.\u003c/p>\n\u003cfigure id=\"attachment_11370195\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11370195\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-800x533.jpg\" alt=\"A scene from the North American tour of 'Dirty Dancing'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the North American tour of ‘Dirty Dancing’ \u003ccite>(Photo: Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The musical version, which follows the movie’s plot about the creative and sexual awakening of awkward teen Frances “Baby” Houseman in the arms of bad boy dancer Johnny Castle and includes many of the movie’s original lines and songs, came out of Australia more than 10 years ago. Despite patchy reviews, the show has been selling out theaters all over the world ever since, largely by tapping into our collective yearning for the past — a yearning that apparently overrides anyone’s appetite for a quality art experience.\u003c/p>\n\u003cp>While I couldn’t even remotely pretend to have “had the time of my life,” as the musical’s most famous song goes, \u003cem>Dirty Dancing\u003c/em> has, unsurprisingly, massive appeal to groups of ladies in their 40s looking to escape their toddler-infused lives for a few hours. The Golden Gate Theater was packed with this demographic the night I attended the show. And everyone screamed in all the right places — when hunky Christopher Tierney as Johnny Castle intones the immortal line, “nobody puts Baby in a corner,” and especially when the buff performer takes off his shirt. Oh, and the dancing is fantastic.\u003c/p>\n\u003cp>Watch the sizzling sizzle reel for the U.S. tour:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"DIRTY DANCING North American Tour Sizzle Reel\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/0FhRIJO-7Cg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Dirty Dancing\u003c/em> runs through Sunday, Mar. 20 at the Golden Gate Theater in San Francisco. Find out more \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=dirtydancing&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The musical version of the 1987 feelgood movie romance starring Patrick Swayze and Jennifer Grey is nostalgic for the time when denim cutoffs and guys in wife-beaters were in",
"status": "publish",
"parent": 0,
"modified": 1726702684,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 368
},
"headData": {
"title": "Why Women Over 40 Should Go See 'Dirty Dancing' Musical | KQED",
"description": "The musical version of the 1987 feelgood movie romance starring Patrick Swayze and Jennifer Grey is nostalgic for the time when denim cutoffs and guys in wife-beaters were in",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Why Women Over 40 Should Go See 'Dirty Dancing' Musical",
"datePublished": "2016-03-02T08:00:15-08:00",
"dateModified": "2024-09-18T16:38:04-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11369973/why-women-over-40-should-go-see-dirty-dancing-musical",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Broadway has long been a nostalgia machine, taking bobby soxers, baby boomers and the bell-bottom crowd back, respectively, to the 1950s (\u003cem>Grease\u003c/em>), 1960s (\u003cem>Hair\u003c/em>) and 1970s (\u003cem>Mama Mia!\u003c/em>) with unabashed euphoria.\u003c/p>\n\u003cp>The musical adaptation of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=dirtydancing&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Dirty Dancing\u003c/a>\u003c/em>, based on the 1987 feelgood movie romance starring Patrick Swayze and Jennifer Grey, does the same thing for those of us who came of age at a time when \u003cem>Fame\u003c/em> and \u003cem>Flashdance\u003c/em> were all the rage. Never mind that \u003cem>Dirty Dancing\u003c/em> is set in the summer of 1963; every teenage girl who saw the movie when it came out procured a pair of denim cutoffs and a taste for dudes in wife-beaters and quiffs.\u003c/p>\n\u003cfigure id=\"attachment_11370195\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11370195\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-800x533.jpg\" alt=\"A scene from the North American tour of 'Dirty Dancing'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the North American tour of ‘Dirty Dancing’ \u003ccite>(Photo: Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The musical version, which follows the movie’s plot about the creative and sexual awakening of awkward teen Frances “Baby” Houseman in the arms of bad boy dancer Johnny Castle and includes many of the movie’s original lines and songs, came out of Australia more than 10 years ago. Despite patchy reviews, the show has been selling out theaters all over the world ever since, largely by tapping into our collective yearning for the past — a yearning that apparently overrides anyone’s appetite for a quality art experience.\u003c/p>\n\u003cp>While I couldn’t even remotely pretend to have “had the time of my life,” as the musical’s most famous song goes, \u003cem>Dirty Dancing\u003c/em> has, unsurprisingly, massive appeal to groups of ladies in their 40s looking to escape their toddler-infused lives for a few hours. The Golden Gate Theater was packed with this demographic the night I attended the show. And everyone screamed in all the right places — when hunky Christopher Tierney as Johnny Castle intones the immortal line, “nobody puts Baby in a corner,” and especially when the buff performer takes off his shirt. Oh, and the dancing is fantastic.\u003c/p>\n\u003cp>Watch the sizzling sizzle reel for the U.S. tour:\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>\u003ciframe loading=\"lazy\" title=\"DIRTY DANCING North American Tour Sizzle Reel\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/0FhRIJO-7Cg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Dirty Dancing\u003c/em> runs through Sunday, Mar. 20 at the Golden Gate Theater in San Francisco. Find out more \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=dirtydancing&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11369973/why-women-over-40-should-go-see-dirty-dancing-musical",
"authors": [
"8608"
],
"programs": [
"arts_140"
],
"categories": [
"arts_966",
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11370077",
"label": "arts_140"
},
"arts_11370944": {
"type": "posts",
"id": "arts_11370944",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11370944",
"score": null,
"sort": [
1456873220000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1456873220,
"format": "video",
"title": "How Turfers and Ballet Dancers Found Their Groove Together",
"headTitle": "How Turfers and Ballet Dancers Found Their Groove Together | KQED",
"content": "\u003cp>Oakland street dancer My-Linh Le is one of those people drawn to the things that connect people, rather than what keeps them apart. But last fall, when Le set out to bring together some of the Bay Area’s top turf dancers alongside a selection of the region’s rising ballet talent in a single dance project, she soon discovered\u003ca href=\"http://ww2.kqed.org/arts/2016/01/13/turf-dancing-and-ballet-struggle-to-meet-half-way/\" target=\"_blank\" rel=\"noopener\"> she had her work cut out for her.\u003c/a>\u003c/p>\n\u003cp>“When we first started rehearsing it was really awkward; a lot of standoffishness,” says Le.\u003c/p>\n\u003cp>For many of the dancers, bringing the styles together felt “like mixing fire and water,” says Michael “No Name” Chicago, a member of the No Mercy dance crew. “Where ballet dancers have so much grace, structure, and form, turf dancers glide with our sneakers on the concrete. We shred our shoes up to see who has got more heart, who is more aggressive.”\u003c/p>\n\u003cp>What started out as a culture clash of dance styles evolved into a close collaboration among 12 dancers and the launch of \u003ca href=\"http://www.mudwatertheatre.com/\" target=\"_blank\" rel=\"noopener\">The Mud Water Project\u003c/a>. The project aims to create opportunities for turfers to showcase their art in \u003cspan id=\"yui_3_17_2_1_1456821474916_1011\">concert-style settings and \u003c/span>to audiences often beyond their reach.\u003c/p>\n\u003cp>Members of several different Bay Area turfing crews, including HEAT, Unknown Artifacts, and Knuckle Neck Tribe, have joined the collaboration. Dancing alongside them are students of the prestigious \u003ca href=\"http://training.linesballet.org/about/\" target=\"_blank\" rel=\"noopener\">Alonzo King LINES Ballet Training Program\u003c/a> and its \u003ca href=\"http://bfa.linesballet.org/about/\" target=\"_blank\" rel=\"noopener\">BFA program at Dominican University of California\u003c/a>, known for pushing the boundaries of the dance form. The Mud Water Project has provided an opportunity for the ballet students to push even further.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The turfers bring a very strong intuition and self-empowerment to dance,” says Markus McCray, a ballet student in the Alonzo King LINES Ballet Training Program. “And that energy alone has changed everything for me, because as a concert dancer, I’ve been very trapped in the cerebral idea of what dance is.”\u003c/p>\n\u003cp>KQED Arts’ cameras took a close look at this unlikely collaboration, capturing rehearsals and one of its sold-out performances at the Dance In Revolting Times (D.I.R.T.) festival earlier this year.\u003c/p>\n\u003cp>The Mud Water Project dancers now want to go deeper in their exploration of merging dance styles. They are working to secure funding to expand their initial 17-minute performance into a full-length show. Le has high hopes for the ongoing collaboration. “These dancers are listening so closely to each other,” she says. “The synchronicity is extraordinary.”\u003c/p>\n\u003cp>Listen to a radio piece about this collaboration from \u003ca href=\"http://ww2.kqed.org/arts/2016/01/13/turf-dancing-and-ballet-struggle-to-meet-half-way/\" target=\"_blank\" rel=\"noopener\">KQED’s April Dembosky here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 462,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705044980,
"excerpt": "Ballet dancers and members of various Bay Area street dance crews are influencing one another’s movement in ways they never expected.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ballet dancers and members of various Bay Area street dance crews are influencing one another’s movement in ways they never expected.",
"title": "How Turfers and Ballet Dancers Found Their Groove Together | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "How Turfers and Ballet Dancers Found Their Groove Together",
"datePublished": "2016-03-01T15:00:20-08:00",
"dateModified": "2024-01-11T23:36:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "how-turfers-and-ballet-dancers-found-their-groove-together",
"status": "publish",
"videoEmbed": "https://www.youtube.com/watch?v=6JUCv9uaaAE&feature=youtu.be",
"sticky": false,
"path": "/arts/11370944/how-turfers-and-ballet-dancers-found-their-groove-together",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland street dancer My-Linh Le is one of those people drawn to the things that connect people, rather than what keeps them apart. But last fall, when Le set out to bring together some of the Bay Area’s top turf dancers alongside a selection of the region’s rising ballet talent in a single dance project, she soon discovered\u003ca href=\"http://ww2.kqed.org/arts/2016/01/13/turf-dancing-and-ballet-struggle-to-meet-half-way/\" target=\"_blank\" rel=\"noopener\"> she had her work cut out for her.\u003c/a>\u003c/p>\n\u003cp>“When we first started rehearsing it was really awkward; a lot of standoffishness,” says Le.\u003c/p>\n\u003cp>For many of the dancers, bringing the styles together felt “like mixing fire and water,” says Michael “No Name” Chicago, a member of the No Mercy dance crew. “Where ballet dancers have so much grace, structure, and form, turf dancers glide with our sneakers on the concrete. We shred our shoes up to see who has got more heart, who is more aggressive.”\u003c/p>\n\u003cp>What started out as a culture clash of dance styles evolved into a close collaboration among 12 dancers and the launch of \u003ca href=\"http://www.mudwatertheatre.com/\" target=\"_blank\" rel=\"noopener\">The Mud Water Project\u003c/a>. The project aims to create opportunities for turfers to showcase their art in \u003cspan id=\"yui_3_17_2_1_1456821474916_1011\">concert-style settings and \u003c/span>to audiences often beyond their reach.\u003c/p>\n\u003cp>Members of several different Bay Area turfing crews, including HEAT, Unknown Artifacts, and Knuckle Neck Tribe, have joined the collaboration. Dancing alongside them are students of the prestigious \u003ca href=\"http://training.linesballet.org/about/\" target=\"_blank\" rel=\"noopener\">Alonzo King LINES Ballet Training Program\u003c/a> and its \u003ca href=\"http://bfa.linesballet.org/about/\" target=\"_blank\" rel=\"noopener\">BFA program at Dominican University of California\u003c/a>, known for pushing the boundaries of the dance form. The Mud Water Project has provided an opportunity for the ballet students to push even further.\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>“The turfers bring a very strong intuition and self-empowerment to dance,” says Markus McCray, a ballet student in the Alonzo King LINES Ballet Training Program. “And that energy alone has changed everything for me, because as a concert dancer, I’ve been very trapped in the cerebral idea of what dance is.”\u003c/p>\n\u003cp>KQED Arts’ cameras took a close look at this unlikely collaboration, capturing rehearsals and one of its sold-out performances at the Dance In Revolting Times (D.I.R.T.) festival earlier this year.\u003c/p>\n\u003cp>The Mud Water Project dancers now want to go deeper in their exploration of merging dance styles. They are working to secure funding to expand their initial 17-minute performance into a full-length show. Le has high hopes for the ongoing collaboration. “These dancers are listening so closely to each other,” she says. “The synchronicity is extraordinary.”\u003c/p>\n\u003cp>Listen to a radio piece about this collaboration from \u003ca href=\"http://ww2.kqed.org/arts/2016/01/13/turf-dancing-and-ballet-struggle-to-meet-half-way/\" target=\"_blank\" rel=\"noopener\">KQED’s April Dembosky here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11370944/how-turfers-and-ballet-dancers-found-their-groove-together",
"authors": [
"3248"
],
"categories": [
"arts_966"
],
"tags": [
"arts_1118",
"arts_596"
],
"featImg": "arts_11372305",
"label": "arts"
},
"arts_11364611": {
"type": "posts",
"id": "arts_11364611",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11364611",
"score": null,
"sort": [
1456761623000
]
},
"guestAuthors": [],
"slug": "farruquito-channels-dramatic-life-events-into-forceful-flamenco",
"title": "Farruquito Channels Dramatic Life Events into Forceful Flamenco",
"publishDate": 1456761623,
"format": "standard",
"headTitle": "Farruquito Channels Dramatic Life Events into Forceful Flamenco | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Juan Manuel Fernández Montoya (or Farruquito as he is better known) is one of the most famous names in flamenco — and one of the most tragic. In 2001, the now 33-year-old performer watched his father, singer Juan Fernández Flores (“El Moreno”) die on stage while they were performing together in Argentina. Two years later, while driving recklessly in his hometown, Farruquito ran over a pedestrian and fled the scene. The victim, Benjamín Olalla, died six hours later. Farruquito spent three years in prison, and the terrible accident has permeated his outlook ever since.\u003c/p>\n\u003cp>The dramatic events of Farruquito’s life come across palpably in the way he performs. A dancer of small stature and agile build, his facial expressions convey as much intensity of feeling as his dancing.\u003cbr>\nFarruquito is the headline act at this year’s \u003ca href=\"http://www.bayareaflamencofestival.org/Bay_Area_Flamenco_Festival_2016.html\" target=\"_blank\" rel=\"noopener\">Bay Area Flamenco Festival\u003c/a>. The artist has been absent from local stages since 2003 when he performed at Zellerbach Hall in Berkeley. Born into a famous flamenco dynasty, the son of dancer Rosario Montoya Manzano (“La Farruca”) and grandson of dancer Antonio Montoya Flores (“El Farruco”), Farruquito has been dancing since he was a toddler.\u003c/p>\n\u003cfigure id=\"attachment_11364719\" class=\"wp-caption alignnone\" style=\"max-width: 948px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11364719 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327.jpg\" alt=\"Farruquito embodies flamenco as a way of life\" width=\"948\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327.jpg 948w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-768x482.jpg 768w\" sizes=\"(max-width: 948px) 100vw, 948px\">\u003cfigcaption class=\"wp-caption-text\">Farruquito embodies flamenco as a way of life \u003ccite>(Photo: El Cordobés)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Farruquito’s new touring show, \u003cem>Improvisao\u003c/em> (“Improvisation”) takes the performer back to his roots: “It’s a demonstration of what I’ve learned in this profession,” the artist says. “Singing, guitar, and dance fuse together with absolute freedom to create a different show every night.” In addition to his appearance in San Francisco, Farruquito is performing \u003cem>Improvisao\u003c/em> around the country, with dates in New York, Boston, and Los Angeles among other major U.S. cities.\u003c/p>\n\u003cp>\u003cstrong>Lessons from a great\u003c/strong>\u003c/p>\n\u003cp>Farruquito’s chief teacher and mentor is his grandfather. El Farruco’s unique personal style — very sober, very masculine, yet very humane — gave flamenco a new face: the face of a patriarch that used dance to instill pride and value in his people. Farruquito has many stories to share about his grandfather. Once, Farruco was teaching Farruquito―then a child―the “soleá”. Soleá is a particular dance within flamenco — one of the most dramatic; its name derives from the word “soledad,” meaning “solitude.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When you dance soleá, it is like walking on a wooden bridge,” Farruco told his grandson. “You take a false step and down you go, into the precipice.”\u003cbr>\n“What precipice?” Farruquito asked.\u003cbr>\n“The precipice of the soleá,” Farruco responded.\u003c/p>\n\u003cp>What the veteran dancer meant to impart to the novice with this dramatic explanation is that every dance follows a strict path with it its rhythm and beat. If you miss a beat, you fall from the dance into oblivion.\u003c/p>\n\u003cp>\u003cstrong>A blending of many cultures\u003c/strong>\u003c/p>\n\u003cp>Flamenco was born in the streets of Spain, a place where people have been dancing for millennia. In antiquity, Romans employed dancers from the Iberian Peninsula, admiring their dexterity and grace. Later, a mixture of cultures―Iberians, Jews, Muslims, Gypsies, Africans―all blended to create flamenco in the southernmost regions of Spain. There, in Andalucía, the Gypsy community took flamenco to a limitless beauty.\u003c/p>\n\u003cp>In Andalucía, flamenco is a way of processing life, bringing together people of all social strata and different ethnicities to celebrate religious and non-religious festivities. For many, it is a means of expressing individuality.\u003c/p>\n\u003cp>There are those, however, that have taken flamenco from its folk origins to a polished, highly professionalized art form. In the 20th century, the Farruco family became legendary throughout Spain and beyond for sharing flamenco with audiences around the world. As one of the most prominent inheritors of the flamenco tradition, Farruquito blends fiercely stunning and intricate rhythmic foot patterns―performed at harrowing speeds―with elegant and expressive body movements.\u003c/p>\n\u003cp>Watch Farruquito in action here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"11th Annual Bay Area Flamenco Festival presents FARRUQUITO\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/zmRgxmPtwsU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“Farruquito is a vibrant young artist who has garnered world-wide recognition at the highest level as he continues to deepen his personal approach to flamenco, bringing his family’s dance legacy firmly into the 21st century,” says Nina Menéndez, founder and artistic director of the Bay Area Flamenco Festival. “With \u003cem>Improvisao\u003c/em>, he makes a strong aesthetic statement affirming flamenco’s improvisational essence and its roots in the vernacular culture of the Andalucían Gypsies.”\u003c/p>\n\u003cp>\u003cstrong>A starry entourage\u003c/strong>\u003c/p>\n\u003cp>At this year’s Bay Area Flamenco Festival, Farruquito is joined by a roster of stars, including his favorite young female dancer, Gema Moneo. Moneo has appeared at the Bay Area Flamenco Festival on several occasions since Menéndez first introduced her to U.S. audiences in San Francisco, Los Angeles, and New York in 2012. Vocalist Encarna Anillo is also part of Farruquito’s entourage at the festival. When singing, Anillo strives to get beyond the technical aspects of her art form, sharing with Farruquito the desire to return to the primeval spontaneous core of flamenco.\u003c/p>\n\u003cfigure id=\"attachment_11364718\" class=\"wp-caption aligncenter\" style=\"max-width: 4413px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11364718 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498.jpg\" alt=\"Gema Moneo (red scarf) on stage at the Bay Area Flamenco Festival 2015.\" width=\"4413\" height=\"2872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498.jpg 4413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-1180x768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-1920x1250.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-960x625.jpg 960w\" sizes=\"(max-width: 4413px) 100vw, 4413px\">\u003cfigcaption class=\"wp-caption-text\">Gema Moneo (red scarf) on stage at the Bay Area Flamenco Festival 2015. \u003ccite>(Photo: Christine Fu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Festival continues on Wednesday, Mar. 9 with a collaboration between Cuban jazz wizard Gonzalo Rubalcaba and Gypsy flamenco diva Esperanza Fernández. The duo pays homage to two greats of the mid-twentieth century: Beny Moré (one of the foremost exponents of traditional Cuban “sonero” singing) and Spanish Gypsy flamenco vocalist Manolo Caracol.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>For more information about the 11th Annual Bay Area Flamenco Festival go \u003ca href=\"http://www.BayAreaFlamencoFestival.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"blocks": [],
"excerpt": "Following tragic hit and run accident in 2003, Spanish star makes long-awaited return to Bay Area Flamenco Festival \r\n",
"status": "publish",
"parent": 0,
"modified": 1726702692,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 964
},
"headData": {
"title": "Farruquito Channels Dramatic Life Events into Forceful Flamenco | KQED",
"description": "Following tragic hit and run accident in 2003, Spanish star makes long-awaited return to Bay Area Flamenco Festival \r\n",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Farruquito Channels Dramatic Life Events into Forceful Flamenco",
"datePublished": "2016-02-29T08:00:23-08:00",
"dateModified": "2024-09-18T16:38:12-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11364611/farruquito-channels-dramatic-life-events-into-forceful-flamenco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Juan Manuel Fernández Montoya (or Farruquito as he is better known) is one of the most famous names in flamenco — and one of the most tragic. In 2001, the now 33-year-old performer watched his father, singer Juan Fernández Flores (“El Moreno”) die on stage while they were performing together in Argentina. Two years later, while driving recklessly in his hometown, Farruquito ran over a pedestrian and fled the scene. The victim, Benjamín Olalla, died six hours later. Farruquito spent three years in prison, and the terrible accident has permeated his outlook ever since.\u003c/p>\n\u003cp>The dramatic events of Farruquito’s life come across palpably in the way he performs. A dancer of small stature and agile build, his facial expressions convey as much intensity of feeling as his dancing.\u003cbr>\nFarruquito is the headline act at this year’s \u003ca href=\"http://www.bayareaflamencofestival.org/Bay_Area_Flamenco_Festival_2016.html\" target=\"_blank\" rel=\"noopener\">Bay Area Flamenco Festival\u003c/a>. The artist has been absent from local stages since 2003 when he performed at Zellerbach Hall in Berkeley. Born into a famous flamenco dynasty, the son of dancer Rosario Montoya Manzano (“La Farruca”) and grandson of dancer Antonio Montoya Flores (“El Farruco”), Farruquito has been dancing since he was a toddler.\u003c/p>\n\u003cfigure id=\"attachment_11364719\" class=\"wp-caption alignnone\" style=\"max-width: 948px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11364719 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327.jpg\" alt=\"Farruquito embodies flamenco as a way of life\" width=\"948\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327.jpg 948w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Farruquito_ElCordobes-e1456608449327-768x482.jpg 768w\" sizes=\"(max-width: 948px) 100vw, 948px\">\u003cfigcaption class=\"wp-caption-text\">Farruquito embodies flamenco as a way of life \u003ccite>(Photo: El Cordobés)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Farruquito’s new touring show, \u003cem>Improvisao\u003c/em> (“Improvisation”) takes the performer back to his roots: “It’s a demonstration of what I’ve learned in this profession,” the artist says. “Singing, guitar, and dance fuse together with absolute freedom to create a different show every night.” In addition to his appearance in San Francisco, Farruquito is performing \u003cem>Improvisao\u003c/em> around the country, with dates in New York, Boston, and Los Angeles among other major U.S. cities.\u003c/p>\n\u003cp>\u003cstrong>Lessons from a great\u003c/strong>\u003c/p>\n\u003cp>Farruquito’s chief teacher and mentor is his grandfather. El Farruco’s unique personal style — very sober, very masculine, yet very humane — gave flamenco a new face: the face of a patriarch that used dance to instill pride and value in his people. Farruquito has many stories to share about his grandfather. Once, Farruco was teaching Farruquito―then a child―the “soleá”. Soleá is a particular dance within flamenco — one of the most dramatic; its name derives from the word “soledad,” meaning “solitude.”\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>“When you dance soleá, it is like walking on a wooden bridge,” Farruco told his grandson. “You take a false step and down you go, into the precipice.”\u003cbr>\n“What precipice?” Farruquito asked.\u003cbr>\n“The precipice of the soleá,” Farruco responded.\u003c/p>\n\u003cp>What the veteran dancer meant to impart to the novice with this dramatic explanation is that every dance follows a strict path with it its rhythm and beat. If you miss a beat, you fall from the dance into oblivion.\u003c/p>\n\u003cp>\u003cstrong>A blending of many cultures\u003c/strong>\u003c/p>\n\u003cp>Flamenco was born in the streets of Spain, a place where people have been dancing for millennia. In antiquity, Romans employed dancers from the Iberian Peninsula, admiring their dexterity and grace. Later, a mixture of cultures―Iberians, Jews, Muslims, Gypsies, Africans―all blended to create flamenco in the southernmost regions of Spain. There, in Andalucía, the Gypsy community took flamenco to a limitless beauty.\u003c/p>\n\u003cp>In Andalucía, flamenco is a way of processing life, bringing together people of all social strata and different ethnicities to celebrate religious and non-religious festivities. For many, it is a means of expressing individuality.\u003c/p>\n\u003cp>There are those, however, that have taken flamenco from its folk origins to a polished, highly professionalized art form. In the 20th century, the Farruco family became legendary throughout Spain and beyond for sharing flamenco with audiences around the world. As one of the most prominent inheritors of the flamenco tradition, Farruquito blends fiercely stunning and intricate rhythmic foot patterns―performed at harrowing speeds―with elegant and expressive body movements.\u003c/p>\n\u003cp>Watch Farruquito in action here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"11th Annual Bay Area Flamenco Festival presents FARRUQUITO\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/zmRgxmPtwsU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“Farruquito is a vibrant young artist who has garnered world-wide recognition at the highest level as he continues to deepen his personal approach to flamenco, bringing his family’s dance legacy firmly into the 21st century,” says Nina Menéndez, founder and artistic director of the Bay Area Flamenco Festival. “With \u003cem>Improvisao\u003c/em>, he makes a strong aesthetic statement affirming flamenco’s improvisational essence and its roots in the vernacular culture of the Andalucían Gypsies.”\u003c/p>\n\u003cp>\u003cstrong>A starry entourage\u003c/strong>\u003c/p>\n\u003cp>At this year’s Bay Area Flamenco Festival, Farruquito is joined by a roster of stars, including his favorite young female dancer, Gema Moneo. Moneo has appeared at the Bay Area Flamenco Festival on several occasions since Menéndez first introduced her to U.S. audiences in San Francisco, Los Angeles, and New York in 2012. Vocalist Encarna Anillo is also part of Farruquito’s entourage at the festival. When singing, Anillo strives to get beyond the technical aspects of her art form, sharing with Farruquito the desire to return to the primeval spontaneous core of flamenco.\u003c/p>\n\u003cfigure id=\"attachment_11364718\" class=\"wp-caption aligncenter\" style=\"max-width: 4413px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11364718 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498.jpg\" alt=\"Gema Moneo (red scarf) on stage at the Bay Area Flamenco Festival 2015.\" width=\"4413\" height=\"2872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498.jpg 4413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-1180x768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-1920x1250.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GemaMoneo_ChristineFu-e1456608245498-960x625.jpg 960w\" sizes=\"(max-width: 4413px) 100vw, 4413px\">\u003cfigcaption class=\"wp-caption-text\">Gema Moneo (red scarf) on stage at the Bay Area Flamenco Festival 2015. \u003ccite>(Photo: Christine Fu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Festival continues on Wednesday, Mar. 9 with a collaboration between Cuban jazz wizard Gonzalo Rubalcaba and Gypsy flamenco diva Esperanza Fernández. The duo pays homage to two greats of the mid-twentieth century: Beny Moré (one of the foremost exponents of traditional Cuban “sonero” singing) and Spanish Gypsy flamenco vocalist Manolo Caracol.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>For more information about the 11th Annual Bay Area Flamenco Festival go \u003ca href=\"http://www.BayAreaFlamencoFestival.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11364611/farruquito-channels-dramatic-life-events-into-forceful-flamenco",
"authors": [
"11226"
],
"programs": [
"arts_140"
],
"categories": [
"arts_966",
"arts_69",
"arts_235"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_11364721",
"label": "arts_140"
},
"arts_11359048": {
"type": "posts",
"id": "arts_11359048",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11359048",
"score": null,
"sort": [
1456450862000
]
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-cinequest-in-san-jose-a-female-jazz-pioneer-and-the-suffers",
"title": "Cy and David's Picks: Cinequest in San Jose, a Female Jazz Pioneer, and the Suffers",
"publishDate": 1456450862,
"format": "standard",
"headTitle": "Cy and David’s Picks: Cinequest in San Jose, a Female Jazz Pioneer, and the Suffers | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>featured, guide, ntv, the-do-list-featuredfeatured, guide, ntv, the-do-list-featuredKQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/02/TDL20160226a.mp3\u003c/p>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RM3hj-6F1pk\u003c/p>\n\u003cp>\u003cstrong>Feb 27:\u003c/strong> The R&B band \u003ca href=\"http://www.thesuffers.com/\" target=\"_blank\" rel=\"noopener\">The Suffers\u003c/a> begins every show by thrusting their arms in the air, and then they earn that championship gesture with great shows. These are 10 very good musicians who’ve been kicking around the Houston music scene for years, but something special clicked when co-founders Adam Castaneda and Pat Kelly hooked up with Kam Franklin, a singer with a vivid voice and presence.They’re opening for Lake Street Dive at the \u003ca href=\"http://sfmasonic.com/event/lake-street-dive/\" target=\"_blank\" rel=\"noopener\">Masonic Saturday night.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KOJ57_HrWXU\u003c/p>\n\u003cp>\u003cstrong>March 1-13:\u003c/strong> \u003ca href=\"http://www.cinequest.org/\" target=\"_blank\" rel=\"noopener\">Cinequest\u003c/a> kicks off next week in San Jose, a festival that for 26 years has been exploring the links between technology and the movies, the original virtual reality. Co-founders Halfan Hussey and Kathleen Powell have scheduled a perfect opening night film, \u003cem>\u003ca href=\"http://www.bleeckerstreetmedia.com/eyeinthesky\" target=\"_blank\" rel=\"noopener\">Eye in the Sky,\u003c/a> \u003c/em>about drones, state assassinations and moral dilemmas, with a killer cast (sorry for the pun) in Helen Mirren (\u003cem>The Queen\u003c/em>), Aaron Paul (\u003cem>Breaking Bad\u003c/em>), and the late Alan Rickman (\u003cem>Harry Potter\u003c/em>). Cinequest’s own Maverick Studio is screening a work in progress,\u003ca href=\"http://www.mrinvinciblethemovie.com/\" target=\"_blank\" rel=\"noopener\"> \u003cem>Mr. Invincible\u003c/em>,\u003c/a> which uses a new three-screen format. Also worth a look: \u003cem>\u003ca href=\"https://www.facebook.com/FRIENDSEFFINGFRIENDSEFFINGFRIENDS/\" target=\"_blank\" rel=\"noopener\">Friends Effing Friends Effing Friends\u003c/a>,\u003c/em> directed by Quincy Rose, Woody Allen’s godson, and James Franco’s new film, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1735907/\" target=\"_blank\" rel=\"noopener\">The Adderall Diaries.\u003c/a> \u003c/em>Franco and Berkeley’s Rita Moreno get the festival’s Maverick Spirit awards this year. Details \u003ca href=\"http://www.cinequest.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ojwANp_D_fE\u003c/p>\n\u003cp>\u003cstrong>March 3: \u003c/strong>This next item is a tribute to a female jazz pioneer, the great trombonist and arranger Melba Liston. She was one of the few women to play with the big bands in the 1940’s. She wrote a lot of music and wrote hundreds of arrangements for bands including those led by Quincy Jones, Dizzy Gillespie and Randy Weston. Now the young Bay Area raised trombonist \u003ca href=\"https://www.youtube.com/watch?v=ojwANp_D_fE\" target=\"_blank\" rel=\"noopener\">Natalie Cressman\u003c/a> is doing a tribute to Liston. She told us she’s been writing out Liston’s arrangement by listening to Liston’s old recordings, because very few of her charts are available. Cressman says she’s in awe of the the detail in the charts.\u003c/p>\n\u003cfigure id=\"attachment_11359646\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11359646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg\" alt=\"Natalie Cressman\" width=\"640\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Cressman \u003ccite>(Photo Credit: Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Because she came up playing not the lead part but in the section,” Cressman says, “that kind of gave her this perspective of wanting to make every single part beautiful. Because she found herself being bored sometimes playing those stock arrangements, she wanted to make all the parts free and special. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0303/natalie-cressman\" target=\"_blank\" rel=\"noopener\">Cressman and her band play the Joe Henderson Lab at SFJAZZ Thursday night.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wLR3Bsdu36k\u003c/p>\n\u003cp>\u003cstrong>March 10-12:\u003c/strong> We’re looking a little bit ahead now with a \u003cstrong>FAR-OUT!\u003c/strong> selection — a show you should get tickets for early, or risk a sellout. It’s the annual visit to the Bay Area by the \u003ca href=\"https://www.facebook.com/BillTJonesArnieZaneDanceCompany/\" target=\"_blank\" rel=\"noopener\">Bill T. Jones/Arnie Zane Dance Company\u003c/a>. They’re doing a YBCA co-commission, a piece based on an oral history Jones did with Dora Amelan, a French Jewish nurse and social worker who somehow survived World War II. \u003ca href=\"http://tickets.ybca.org/single/PSDetail.aspx?psn=20511\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11359650\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11359650 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-1180x693.jpg\" alt=\"Lady Gregory (Stephanie Hunt) is seduced by the poet Blunt (Rudy Guerrero). From Colm Tóibín's "Silence."\" width=\"640\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-1180x693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-960x564.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772.jpg 1400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lady Gregory (Stephanie Hunt) is seduced by the poet Blunt (Rudy Guerrero). From Colm Tóibín’s “Silence.” \u003ccite>(Photo Credit: Julie Schuchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through April 3:\u003c/strong> There’s been something great in every show I’ve seen at \u003ca href=\"http://zspace.org/w4w\" target=\"_blank\" rel=\"noopener\">Word for Word\u003c/a> — that’s the company that puts short stories on the stage, word for word from the original text, and makes it work as great drama. The company is opening a new show, a pair of stories: one by \u003ca href=\"http://www.emmadonoghue.com/\" target=\"_blank\" rel=\"noopener\">Emma Donoghue \u003c/a>and one by \u003ca href=\"http://www.colmtoibin.com/\" target=\"_blank\" rel=\"noopener\">Colm Tóibín\u003c/a>. There’s a surprising Academy Awards connection for these two authors. Toibin wrote the novel \u003cem>Brooklyn\u003c/em>, and Donoghue wrote \u003cem>Room \u003c/em>— both nominated for \u003ca href=\"http://oscar.go.com/nominees\" target=\"_blank\" rel=\"noopener\">best picture awards\u003c/a>. Here are the details for Word for Word’s \u003cem>\u003ca href=\"http://zspace.org/w4w/donoghue-and-toibin\" target=\"_blank\" rel=\"noopener\">Stories by Emma Donoghue and Colm Tóibín\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d0BNwyrEDiA\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 26: \u003c/strong>Kid Cudi is a Speedin’ Bullet 2 Heaven. At least that’s the name of his newest album and current tour. This avatar of trippy hip-hop is embracing positivity, and his own quirks with half sung, half chanted lyrics like “I’m what you made, God / F— yes, I’m so odd.” We like odd here at The Do List. Details \u003ca href=\"http://sfmasonic.com/event/kid-cudi/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"status": "publish",
"parent": 0,
"modified": 1726788162,
"stats": {
"hasAudio": true,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 844
},
"headData": {
"title": "Cy and David's Picks: Cinequest in San Jose, a Female Jazz Pioneer, and the Suffers | KQED",
"description": "Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: Cinequest in San Jose, a Female Jazz Pioneer, and the Suffers",
"datePublished": "2016-02-25T17:41:02-08:00",
"dateModified": "2024-09-19T16:22:42-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11359048/cy-and-davids-picks-cinequest-in-san-jose-a-female-jazz-pioneer-and-the-suffers",
"audioUrl": "http://www.kqed.org/.stream/anon/radio/thedolist/2016/02/TDL20160226a.mp3",
"audioDuration": null,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>featured, guide, ntv, the-do-list-featuredfeatured, guide, ntv, the-do-list-featuredKQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "audioLink",
"attributes": {
"named": {
"src": "http://www.kqed.org/.stream/anon/radio/thedolist/2016/02/TDL20160226a.mp3"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp> \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RM3hj-6F1pk'\n title='//www.youtube.com/embed/RM3hj-6F1pk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb 27:\u003c/strong> The R&B band \u003ca href=\"http://www.thesuffers.com/\" target=\"_blank\" rel=\"noopener\">The Suffers\u003c/a> begins every show by thrusting their arms in the air, and then they earn that championship gesture with great shows. These are 10 very good musicians who’ve been kicking around the Houston music scene for years, but something special clicked when co-founders Adam Castaneda and Pat Kelly hooked up with Kam Franklin, a singer with a vivid voice and presence.They’re opening for Lake Street Dive at the \u003ca href=\"http://sfmasonic.com/event/lake-street-dive/\" target=\"_blank\" rel=\"noopener\">Masonic Saturday night.\u003c/a>\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/KOJ57_HrWXU'\n title='//www.youtube.com/embed/KOJ57_HrWXU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 1-13:\u003c/strong> \u003ca href=\"http://www.cinequest.org/\" target=\"_blank\" rel=\"noopener\">Cinequest\u003c/a> kicks off next week in San Jose, a festival that for 26 years has been exploring the links between technology and the movies, the original virtual reality. Co-founders Halfan Hussey and Kathleen Powell have scheduled a perfect opening night film, \u003cem>\u003ca href=\"http://www.bleeckerstreetmedia.com/eyeinthesky\" target=\"_blank\" rel=\"noopener\">Eye in the Sky,\u003c/a> \u003c/em>about drones, state assassinations and moral dilemmas, with a killer cast (sorry for the pun) in Helen Mirren (\u003cem>The Queen\u003c/em>), Aaron Paul (\u003cem>Breaking Bad\u003c/em>), and the late Alan Rickman (\u003cem>Harry Potter\u003c/em>). Cinequest’s own Maverick Studio is screening a work in progress,\u003ca href=\"http://www.mrinvinciblethemovie.com/\" target=\"_blank\" rel=\"noopener\"> \u003cem>Mr. Invincible\u003c/em>,\u003c/a> which uses a new three-screen format. Also worth a look: \u003cem>\u003ca href=\"https://www.facebook.com/FRIENDSEFFINGFRIENDSEFFINGFRIENDS/\" target=\"_blank\" rel=\"noopener\">Friends Effing Friends Effing Friends\u003c/a>,\u003c/em> directed by Quincy Rose, Woody Allen’s godson, and James Franco’s new film, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1735907/\" target=\"_blank\" rel=\"noopener\">The Adderall Diaries.\u003c/a> \u003c/em>Franco and Berkeley’s Rita Moreno get the festival’s Maverick Spirit awards this year. Details \u003ca href=\"http://www.cinequest.org/\" 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>\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/ojwANp_D_fE'\n title='//www.youtube.com/embed/ojwANp_D_fE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 3: \u003c/strong>This next item is a tribute to a female jazz pioneer, the great trombonist and arranger Melba Liston. She was one of the few women to play with the big bands in the 1940’s. She wrote a lot of music and wrote hundreds of arrangements for bands including those led by Quincy Jones, Dizzy Gillespie and Randy Weston. Now the young Bay Area raised trombonist \u003ca href=\"https://www.youtube.com/watch?v=ojwANp_D_fE\" target=\"_blank\" rel=\"noopener\">Natalie Cressman\u003c/a> is doing a tribute to Liston. She told us she’s been writing out Liston’s arrangement by listening to Liston’s old recordings, because very few of her charts are available. Cressman says she’s in awe of the the detail in the charts.\u003c/p>\n\u003cfigure id=\"attachment_11359646\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11359646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg\" alt=\"Natalie Cressman\" width=\"640\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Cressman \u003ccite>(Photo Credit: Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Because she came up playing not the lead part but in the section,” Cressman says, “that kind of gave her this perspective of wanting to make every single part beautiful. Because she found herself being bored sometimes playing those stock arrangements, she wanted to make all the parts free and special. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0303/natalie-cressman\" target=\"_blank\" rel=\"noopener\">Cressman and her band play the Joe Henderson Lab at SFJAZZ Thursday night.\u003c/a>\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/wLR3Bsdu36k'\n title='//www.youtube.com/embed/wLR3Bsdu36k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 10-12:\u003c/strong> We’re looking a little bit ahead now with a \u003cstrong>FAR-OUT!\u003c/strong> selection — a show you should get tickets for early, or risk a sellout. It’s the annual visit to the Bay Area by the \u003ca href=\"https://www.facebook.com/BillTJonesArnieZaneDanceCompany/\" target=\"_blank\" rel=\"noopener\">Bill T. Jones/Arnie Zane Dance Company\u003c/a>. They’re doing a YBCA co-commission, a piece based on an oral history Jones did with Dora Amelan, a French Jewish nurse and social worker who somehow survived World War II. \u003ca href=\"http://tickets.ybca.org/single/PSDetail.aspx?psn=20511\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11359650\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11359650 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-1180x693.jpg\" alt=\"Lady Gregory (Stephanie Hunt) is seduced by the poet Blunt (Rudy Guerrero). From Colm Tóibín's "Silence."\" width=\"640\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-1180x693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-960x564.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772.jpg 1400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lady Gregory (Stephanie Hunt) is seduced by the poet Blunt (Rudy Guerrero). From Colm Tóibín’s “Silence.” \u003ccite>(Photo Credit: Julie Schuchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through April 3:\u003c/strong> There’s been something great in every show I’ve seen at \u003ca href=\"http://zspace.org/w4w\" target=\"_blank\" rel=\"noopener\">Word for Word\u003c/a> — that’s the company that puts short stories on the stage, word for word from the original text, and makes it work as great drama. The company is opening a new show, a pair of stories: one by \u003ca href=\"http://www.emmadonoghue.com/\" target=\"_blank\" rel=\"noopener\">Emma Donoghue \u003c/a>and one by \u003ca href=\"http://www.colmtoibin.com/\" target=\"_blank\" rel=\"noopener\">Colm Tóibín\u003c/a>. There’s a surprising Academy Awards connection for these two authors. Toibin wrote the novel \u003cem>Brooklyn\u003c/em>, and Donoghue wrote \u003cem>Room \u003c/em>— both nominated for \u003ca href=\"http://oscar.go.com/nominees\" target=\"_blank\" rel=\"noopener\">best picture awards\u003c/a>. Here are the details for Word for Word’s \u003cem>\u003ca href=\"http://zspace.org/w4w/donoghue-and-toibin\" target=\"_blank\" rel=\"noopener\">Stories by Emma Donoghue and Colm Tóibín\u003c/a>.\u003c/em>\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/d0BNwyrEDiA'\n title='//www.youtube.com/embed/d0BNwyrEDiA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 26: \u003c/strong>Kid Cudi is a Speedin’ Bullet 2 Heaven. At least that’s the name of his newest album and current tour. This avatar of trippy hip-hop is embracing positivity, and his own quirks with half sung, half chanted lyrics like “I’m what you made, God / F— yes, I’m so odd.” We like odd here at The Do List. Details \u003ca href=\"http://sfmasonic.com/event/kid-cudi/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11359048/cy-and-davids-picks-cinequest-in-san-jose-a-female-jazz-pioneer-and-the-suffers",
"authors": [
"32"
],
"categories": [
"arts_1",
"arts_966",
"arts_235",
"arts_967"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596",
"arts_626"
],
"featImg": "arts_11360007",
"label": "arts"
},
"arts_11359528": {
"type": "posts",
"id": "arts_11359528",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11359528",
"score": null,
"sort": [
1456443810000
]
},
"guestAuthors": [],
"slug": "sf-ballet-principal-dancer-to-take-lead-atlanta-ballet",
"title": "SF Ballet Principal Dancer to Take Lead at Atlanta Ballet",
"publishDate": 1456443810,
"format": "standard",
"headTitle": "SF Ballet Principal Dancer to Take Lead at Atlanta Ballet | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>San Francisco’s loss is Atlanta’s gain.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfballet.org/company/dancers/principals/Gennadi_Nedvigin\" target=\"_blank\" rel=\"noopener\">Gennadi Nedvigin,\u003c/a> a principal dancer with \u003ca href=\"https://www.sfballet.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a>, will take over August 1 as artistic director at \u003ca href=\"http://www.atlantaballet.com/\" target=\"_blank\" rel=\"noopener\">Atlanta Ballet\u003c/a>, replacing outgoing director John McFall.\u003c/p>\n\u003cp>Nedvigin, 39, is Russian and trained at the Bolshoi School. He joined SF Ballet as a soloist in 1997. SF Ballet announced today that Nedvigin’s final performance will take place sometime during the company’s run of \u003cem> Onegin,\u003c/em> which begins April 30.\u003c/p>\n\u003cp>“Gennadi is an incredibly talented dancer who—after 19 years with the company—is still performing at a very high level and I am very proud of him,” SF Ballet Artistic Director Helgi Tomasson said in a statement. “I have no doubt that his professionalism, coupled with his passion and respect for the art form will make him a wonderful leader for Atlanta Ballet.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Gennadi Nedvigin becomes artistic director at Atlanta Ballet after nearly two decades with SF Ballet",
"status": "publish",
"parent": 0,
"modified": 1726710286,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 6,
"wordCount": 155
},
"headData": {
"title": "SF Ballet Principal Dancer to Take Lead at Atlanta Ballet | KQED",
"description": "Gennadi Nedvigin becomes artistic director at Atlanta Ballet after nearly two decades with SF Ballet",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "SF Ballet Principal Dancer to Take Lead at Atlanta Ballet",
"datePublished": "2016-02-25T15:43:30-08:00",
"dateModified": "2024-09-18T18:44:46-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11359528/sf-ballet-principal-dancer-to-take-lead-atlanta-ballet",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s loss is Atlanta’s gain.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfballet.org/company/dancers/principals/Gennadi_Nedvigin\" target=\"_blank\" rel=\"noopener\">Gennadi Nedvigin,\u003c/a> a principal dancer with \u003ca href=\"https://www.sfballet.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a>, will take over August 1 as artistic director at \u003ca href=\"http://www.atlantaballet.com/\" target=\"_blank\" rel=\"noopener\">Atlanta Ballet\u003c/a>, replacing outgoing director John McFall.\u003c/p>\n\u003cp>Nedvigin, 39, is Russian and trained at the Bolshoi School. He joined SF Ballet as a soloist in 1997. SF Ballet announced today that Nedvigin’s final performance will take place sometime during the company’s run of \u003cem> Onegin,\u003c/em> which begins April 30.\u003c/p>\n\u003cp>“Gennadi is an incredibly talented dancer who—after 19 years with the company—is still performing at a very high level and I am very proud of him,” SF Ballet Artistic Director Helgi Tomasson said in a statement. “I have no doubt that his professionalism, coupled with his passion and respect for the art form will make him a wonderful leader for Atlanta Ballet.”\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/11359528/sf-ballet-principal-dancer-to-take-lead-atlanta-ballet",
"authors": [
"32"
],
"categories": [
"arts_966",
"arts_235"
],
"tags": [
"arts_1254",
"arts_746",
"arts_596"
],
"featImg": "arts_11359530",
"label": "arts"
},
"pop_20675": {
"type": "posts",
"id": "pop_20675",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "20675",
"score": null,
"sort": [
1456345579000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1456345579,
"format": "standard",
"disqusTitle": "Watch Justin Bieber's 'Sorry' Flash Mob Take Over San Francisco",
"title": "Watch Justin Bieber's 'Sorry' Flash Mob Take Over San Francisco",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/240747805&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Every New Year's, we all \u003ca href=\"http://ww2.kqed.org/pop/2016/01/07/resolutions-stop-saying-sorry-in-work-emails-learn-justin-biebers-sorry-dance-instead/\" target=\"_blank\">rush to make resolutions\u003c/a> to try new things and be better. We give it a shot for a few days and then retreat back to our old comfortable habits. But not this year! I decided it was time to force myself to follow through and walk the walk, or in this case, booty pop the booty pop.\u003c/p>\n\u003cp>It all started when I came across \u003ca href=\"https://www.youtube.com/watch?v=fRh_vgS2dFE\" target=\"_blank\">Justin Bieber's music video for \"Sorry,\"\u003c/a> which features \u003ca href=\"https://www.facebook.com/ReQuest-Dance-Crew-134105033297765/\" target=\"_blank\">ReQuest Dance Crew\u003c/a>, a hypnotizing all-female dance troupe from New Zealand, doing the impossible: getting me to listen to an entire Bieber song from beginning to end. Not since \u003ca href=\"https://www.youtube.com/watch?v=Nv644ipg2Ss\" target=\"_blank\">Robyn's \"Call Your Girlfriend\"\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=4m1EFMoRFvY\" target=\"_blank\">Beyonce's \"Single Ladies\"\u003c/a> did I want to learn a dance routine so badly. Luckily for me, a Bay Area dance class series called \u003ca href=\"http://www.popstarbootycamp.com/\" target=\"_blank\">Pop Star Booty Camp\u003c/a>, which teaches lay people choreography out of music videos, was offering a \"Sorry\" course starting the first week of January!\u003c/p>\n\u003cp>Over six weeks, I learned how to \"tick:\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/E_1.gif\" rel=\"attachment wp-att-20707\">\u003cimg class=\"aligncenter size-full wp-image-20707\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/E_1.gif\" alt=\"E_1\" width=\"450\" height=\"344\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How to crawl on all fours while popping my spine up and down without looking like I need medical assistance:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/gallery-1446236365-justin-bieber-sorry-gif.gif\" rel=\"attachment wp-att-20706\">\u003cimg class=\"aligncenter size-full wp-image-20706\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/gallery-1446236365-justin-bieber-sorry-gif.gif\" alt=\"sorry dance crawl gif\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>How to remember all the choreography, but somehow forget to do something less mean-muggy with my face:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/E_2.gif\" rel=\"attachment wp-att-20708\">\u003cimg class=\"aligncenter size-full wp-image-20708\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/E_2.gif\" alt=\"E_2\" width=\"450\" height=\"364\">\u003c/a>\u003c/p>\n\u003cp>How to get comfortable side punching a stranger's butt:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/1BP2Js.gif\" rel=\"attachment wp-att-20714\">\u003cimg class=\"aligncenter size-full wp-image-20714\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/1BP2Js.gif\" alt=\"justin bieber sorry gif\" width=\"720\" height=\"405\">\u003c/a>\u003c/p>\n\u003cp>How to synchronize booty winding with a bestie:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/2L2.gif\" rel=\"attachment wp-att-20711\">\u003cimg class=\"aligncenter size-full wp-image-20711\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/2L2.gif\" alt=\"2L2\" width=\"450\" height=\"305\">\u003c/a>\u003c/p>\n\u003cp>How to grin and bear the thigh muscle soreness to hit this squat pose:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/3L1.gif\" rel=\"attachment wp-att-20709\">\u003cimg class=\"aligncenter size-full wp-image-20709\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/3L1.gif\" alt=\"3L1\" width=\"450\" height=\"306\">\u003c/a>\u003c/p>\n\u003cp>How to wobble walk:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/K3.gif\" rel=\"attachment wp-att-20713\">\u003cimg class=\"aligncenter size-full wp-image-20713\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/K3.gif\" alt=\"K3\" width=\"450\" height=\"334\">\u003c/a>\u003c/p>\n\u003cp>How to spazz out like you just don't care:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/G2.gif\" rel=\"attachment wp-att-20712\">\u003cimg class=\"aligncenter size-full wp-image-20712\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/G2.gif\" alt=\"G2\" width=\"450\" height=\"329\">\u003c/a>\u003c/p>\n\u003cp>And how to accept that, no matter how hard I try, I will never ever be able to twerk:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/KF1.gif\" rel=\"attachment wp-att-20710\">\u003cimg class=\"aligncenter size-full wp-image-20710\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/KF1.gif\" alt=\"KF1\" width=\"450\" height=\"364\">\u003c/a>\u003c/p>\n\u003cp>All of this learning culminated in two separate flash mobs in San Francisco: one in front of the Bay Bridge and another in front of the Ferry Building. Wish you'd been there? Well, we got your back.\u003c/p>\n\u003cp>Watch Bieber fever take over San Francisco:\u003c/p>\n\u003cp>https://youtu.be/0JN7BHJBtCg\u003c/p>\n\u003cp>So the moral of the story is: if there's a cool thing you're putting off doing because you're too scared or too lazy or whatever other lame excuse you cook up, cut it out and get out there! You won't be sorry.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003ci>Special thanks to my fellow Pop Star Booty Camp dancers for striking a pose for some of the above gifs, photographed by Manjula Varghese. \u003c/i>\u003c/span>\u003c/p>\n\n",
"disqusIdentifier": "20675 http://ww2.kqed.org/pop/?p=20675",
"disqusUrl": "https://ww2.kqed.org/pop/2016/02/24/watch-justin-biebers-sorry-flash-mob-take-over-san-francisco/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": true,
"hasPolis": false,
"wordCount": 408,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 26
},
"modified": 1456352814,
"excerpt": "Bieber fever went airborne last weekend in the streets of SF.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Bieber fever went airborne last weekend in the streets of SF.",
"title": "Watch Justin Bieber's 'Sorry' Flash Mob Take Over San Francisco | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Watch Justin Bieber's 'Sorry' Flash Mob Take Over San Francisco",
"datePublished": "2016-02-24T12:26:19-08:00",
"dateModified": "2016-02-24T14:26:54-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "watch-justin-biebers-sorry-flash-mob-take-over-san-francisco",
"status": "publish",
"path": "/pop/20675/watch-justin-biebers-sorry-flash-mob-take-over-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/240747805&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Every New Year's, we all \u003ca href=\"http://ww2.kqed.org/pop/2016/01/07/resolutions-stop-saying-sorry-in-work-emails-learn-justin-biebers-sorry-dance-instead/\" target=\"_blank\">rush to make resolutions\u003c/a> to try new things and be better. We give it a shot for a few days and then retreat back to our old comfortable habits. But not this year! I decided it was time to force myself to follow through and walk the walk, or in this case, booty pop the booty pop.\u003c/p>\n\u003cp>It all started when I came across \u003ca href=\"https://www.youtube.com/watch?v=fRh_vgS2dFE\" target=\"_blank\">Justin Bieber's music video for \"Sorry,\"\u003c/a> which features \u003ca href=\"https://www.facebook.com/ReQuest-Dance-Crew-134105033297765/\" target=\"_blank\">ReQuest Dance Crew\u003c/a>, a hypnotizing all-female dance troupe from New Zealand, doing the impossible: getting me to listen to an entire Bieber song from beginning to end. Not since \u003ca href=\"https://www.youtube.com/watch?v=Nv644ipg2Ss\" target=\"_blank\">Robyn's \"Call Your Girlfriend\"\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=4m1EFMoRFvY\" target=\"_blank\">Beyonce's \"Single Ladies\"\u003c/a> did I want to learn a dance routine so badly. Luckily for me, a Bay Area dance class series called \u003ca href=\"http://www.popstarbootycamp.com/\" target=\"_blank\">Pop Star Booty Camp\u003c/a>, which teaches lay people choreography out of music videos, was offering a \"Sorry\" course starting the first week of January!\u003c/p>\n\u003cp>Over six weeks, I learned how to \"tick:\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/E_1.gif\" rel=\"attachment wp-att-20707\">\u003cimg class=\"aligncenter size-full wp-image-20707\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/E_1.gif\" alt=\"E_1\" width=\"450\" height=\"344\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How to crawl on all fours while popping my spine up and down without looking like I need medical assistance:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/gallery-1446236365-justin-bieber-sorry-gif.gif\" rel=\"attachment wp-att-20706\">\u003cimg class=\"aligncenter size-full wp-image-20706\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/gallery-1446236365-justin-bieber-sorry-gif.gif\" alt=\"sorry dance crawl gif\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>How to remember all the choreography, but somehow forget to do something less mean-muggy with my face:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/E_2.gif\" rel=\"attachment wp-att-20708\">\u003cimg class=\"aligncenter size-full wp-image-20708\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/E_2.gif\" alt=\"E_2\" width=\"450\" height=\"364\">\u003c/a>\u003c/p>\n\u003cp>How to get comfortable side punching a stranger's butt:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/1BP2Js.gif\" rel=\"attachment wp-att-20714\">\u003cimg class=\"aligncenter size-full wp-image-20714\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/1BP2Js.gif\" alt=\"justin bieber sorry gif\" width=\"720\" height=\"405\">\u003c/a>\u003c/p>\n\u003cp>How to synchronize booty winding with a bestie:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/2L2.gif\" rel=\"attachment wp-att-20711\">\u003cimg class=\"aligncenter size-full wp-image-20711\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/2L2.gif\" alt=\"2L2\" width=\"450\" height=\"305\">\u003c/a>\u003c/p>\n\u003cp>How to grin and bear the thigh muscle soreness to hit this squat pose:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/3L1.gif\" rel=\"attachment wp-att-20709\">\u003cimg class=\"aligncenter size-full wp-image-20709\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/3L1.gif\" alt=\"3L1\" width=\"450\" height=\"306\">\u003c/a>\u003c/p>\n\u003cp>How to wobble walk:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/K3.gif\" rel=\"attachment wp-att-20713\">\u003cimg class=\"aligncenter size-full wp-image-20713\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/K3.gif\" alt=\"K3\" width=\"450\" height=\"334\">\u003c/a>\u003c/p>\n\u003cp>How to spazz out like you just don't care:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/G2.gif\" rel=\"attachment wp-att-20712\">\u003cimg class=\"aligncenter size-full wp-image-20712\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/G2.gif\" alt=\"G2\" width=\"450\" height=\"329\">\u003c/a>\u003c/p>\n\u003cp>And how to accept that, no matter how hard I try, I will never ever be able to twerk:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/KF1.gif\" rel=\"attachment wp-att-20710\">\u003cimg class=\"aligncenter size-full wp-image-20710\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/KF1.gif\" alt=\"KF1\" width=\"450\" height=\"364\">\u003c/a>\u003c/p>\n\u003cp>All of this learning culminated in two separate flash mobs in San Francisco: one in front of the Bay Bridge and another in front of the Ferry Building. Wish you'd been there? Well, we got your back.\u003c/p>\n\u003cp>Watch Bieber fever take over San Francisco:\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/0JN7BHJBtCg'\n title='//www.youtube.com/embed/0JN7BHJBtCg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So the moral of the story is: if there's a cool thing you're putting off doing because you're too scared or too lazy or whatever other lame excuse you cook up, cut it out and get out there! You won't be sorry.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">\u003ci>Special thanks to my fellow Pop Star Booty Camp dancers for striking a pose for some of the above gifs, photographed by Manjula Varghese. \u003c/i>\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/20675/watch-justin-biebers-sorry-flash-mob-take-over-san-francisco",
"authors": [
"27"
],
"categories": [
"pop_4"
],
"tags": [
"pop_605"
],
"featImg": "pop_20717",
"label": "pop"
},
"arts_11347526": {
"type": "posts",
"id": "arts_11347526",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11347526",
"score": null,
"sort": [
1456171231000
]
},
"guestAuthors": [],
"slug": "manners-performs-utopic-bodily-engagements-at-interface-gallery",
"title": "Manners Performs Utopic ‘Bodily Engagements’ at Interface Gallery",
"publishDate": 1456171231,
"format": "standard",
"headTitle": "Manners Performs Utopic ‘Bodily Engagements’ at Interface Gallery | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>In Temescal Alley, the historic lane turned hip North Oakland marketplace, \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface Gallery\u003c/a> hosts \u003cem>\u003ca href=\"http://www.interfaceartgallery.com/index.php?/projects/bodily-engagements/\" target=\"_blank\" rel=\"noopener\">Bodily Engagements\u003c/a>\u003c/em>, an eight-week series of interdisciplinary and experiential performance projects. Attending to the theme of the human body in its spatial, visual and temporal relationships, \u003cem>Bodily Engagements\u003c/em> hosts four onsite projects of dance, performance and installations.\u003c/p>\n\u003cfigure id=\"attachment_11283571\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11283571\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Interface640.jpg\" alt=\"An eight week series.\" width=\"640\" height=\"392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Interface640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Interface640-400x245.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">An eight week series. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"http://www.interfaceartgallery.com/index.php?/projects/project-3-manners/\" target=\"_blank\" rel=\"noopener\">Making Plain\u003c/a> \u003c/em>is the third project in the series, an installation and performance by Manners (visual artist \u003ca href=\"http://www.lisarcralle.com/\" target=\"_blank\" rel=\"noopener\">Lisa Rybovich Crallé\u003c/a> and artist/performer \u003ca href=\"http://www.airspace-sf.com/brontez-purnell-dance-company/\" target=\"_blank\" rel=\"noopener\">Sophia Wang\u003c/a>). The project features a site-specific movement piece developed over a series of workshops, choreographed by Wang with Olive Blackburn and Titania Kumeh. The final piece will be performed by all three dancers on Feb. 27, 5-6pm, accompanied by an audio piece by \u003ca href=\"https://soundcloud.com/000arc000\" target=\"_blank\" rel=\"noopener\">(((arc)))\u003c/a>, the sound project of film artist \u003ca href=\"http://m.eastbayexpress.com/oakland/where-films-become-performance/Content?oid=3879769\">Tooth\u003c/a>, to be debuted that evening.\u003c/p>\n\u003cp>All these moving parts might seem complicated, but the democracy of the artists’ process flows smoothly through each component. Unique additions from each participant are essential, manifesting a harmonious creative environment that honors experimentation and variation.\u003c/p>\n\u003cp>Crallé’s installation — open for viewing during regular gallery hours — dominates the small space, but the room remains airy. The walls are covered in white paper printed with a thick, impasto pattern of white bricks. Stretching onto the concrete floor, the paper extends across the room, creating an illusion that is broken by two scroll-like pieces of paper hanging on the wall.\u003c/p>\n\u003cp>Crallé’s brick-patterned paper references the gallery’s own walls, completely hidden by the installation. Amplifying this characteristic creates an impression beyond the meta reference: the result is something institutional, almost reminiscent of padded walls of a sanitarium, a tiled hospital room, or (perhaps less threatening) a communal bathhouse. The handcrafted mark of the pattern, however, disrupts the environment’s austerity. And, perhaps more than anything, the quirky, unexplained forms zig-zagging across the room animate the space.\u003c/p>\n\u003cfigure id=\"attachment_11347649\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11347649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-600x600.jpg\" alt=\"Making Plain (2016) at Interface Gallery, Oakland. Photo: Lisa Rybovich Crallé. \" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm.jpg 1980w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Making Plain (2016) at Interface Gallery, Oakland. Photo: Lisa Rybovich Crallé.\u003c/figcaption>\u003c/figure>\n\u003cp>Three geometric shapes, made of wood outlines covered in the patterned paper, jut into and cut through the room. The angles create framing devices for viewers and curious obstacles for the dancers when they enter the room. The performers engage the shapes as possible cues for their own posture, steps and travels — all the while wearing matching white-brick printed attire, a continuation of Crallé and Wang’s examination of camouflage in their joint artistic practice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Blackburn, Kumeh and Wang allow themselves to react to the room and each other through a series of pre-established movement sequences. In one sequence, Kumeh and Wang press closely against each other’s bodies in a stilted shuffle, an intimate yet imperfect matching of their movements. Yet another exercise found Kumeh mirroring Wang’s crab-like walk as their two bodies dissonantly march at a strange angle. Blackburn, across the room, likewise responds to their shapes with her own shifts. In this sequence, the angle of their legs suggests a fictional plane of space across which they might be crawling.\u003c/p>\n\u003cp>The title \u003cem>Making Plain\u003c/em> becomes a pun in which the performers create the illusion of new dimensional planes for their movement. But the title, too, might indicate the transparency of their collaborative process, since Manners opened two of their workshops to the public (Feb. 19 and 20). Plain, too, could be the blankness of a white-walled gallery space made strange by the installation’s paper sprawl.\u003c/p>\n\u003cp>Such conceptual puns seem to fit Manners’, well, manner. Manners are the ways we behave towards others within an established set of rules, but they also indicate the possible eccentricities within. \u003cem>Making Plain\u003c/em> puts on view the ways in which the dancers become fully absorbed into the constructed scene, and enter into a spatial relationship with each other.\u003c/p>\n\u003cp>Facing a corner, each other or a wooden shape, they each seem to fall into another dimension of play and expression, entranced within their series of reactions. As a collaborative and interdisciplinary project, \u003cem>Making Plain\u003c/em> reflects the ways that each individual — choreographer, dancer, visual artist, sound artist — might interpret an established set of parameters. The project is an inexact structure open to disharmony and imperfections, which seem to be fully embraced as an essential part of the process. \u003cem>Making Plain\u003c/em> emerges as a whole-hearted, nearly utopic exercise in giving each participant’s voice value in the creation of an experience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Making Plain\u003c/em>\u003c/strong> is on view at Interface Gallery in Oakland through Feb. 28, 2016, with a public performance on Feb. 27, 5-6 pm. For more information visit \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">interfacegallery.com\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "With camouflage, quirky forms and site-specific choreography, Manners and collaborators honor experimentation in 'Making Plain.'",
"status": "publish",
"parent": 0,
"modified": 1726771068,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 810
},
"headData": {
"title": "Manners Performs Utopic ‘Bodily Engagements’ at Interface Gallery | KQED",
"description": "With camouflage, quirky forms and site-specific choreography, Manners and collaborators honor experimentation in 'Making Plain.'",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Manners Performs Utopic ‘Bodily Engagements’ at Interface Gallery",
"datePublished": "2016-02-22T12:00:31-08:00",
"dateModified": "2024-09-19T11:37:48-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11347526/manners-performs-utopic-bodily-engagements-at-interface-gallery",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Temescal Alley, the historic lane turned hip North Oakland marketplace, \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">Interface Gallery\u003c/a> hosts \u003cem>\u003ca href=\"http://www.interfaceartgallery.com/index.php?/projects/bodily-engagements/\" target=\"_blank\" rel=\"noopener\">Bodily Engagements\u003c/a>\u003c/em>, an eight-week series of interdisciplinary and experiential performance projects. Attending to the theme of the human body in its spatial, visual and temporal relationships, \u003cem>Bodily Engagements\u003c/em> hosts four onsite projects of dance, performance and installations.\u003c/p>\n\u003cfigure id=\"attachment_11283571\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11283571\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Interface640.jpg\" alt=\"An eight week series.\" width=\"640\" height=\"392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Interface640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Interface640-400x245.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">An eight week series. \u003ccite>(Courtesy of Interface Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"http://www.interfaceartgallery.com/index.php?/projects/project-3-manners/\" target=\"_blank\" rel=\"noopener\">Making Plain\u003c/a> \u003c/em>is the third project in the series, an installation and performance by Manners (visual artist \u003ca href=\"http://www.lisarcralle.com/\" target=\"_blank\" rel=\"noopener\">Lisa Rybovich Crallé\u003c/a> and artist/performer \u003ca href=\"http://www.airspace-sf.com/brontez-purnell-dance-company/\" target=\"_blank\" rel=\"noopener\">Sophia Wang\u003c/a>). The project features a site-specific movement piece developed over a series of workshops, choreographed by Wang with Olive Blackburn and Titania Kumeh. The final piece will be performed by all three dancers on Feb. 27, 5-6pm, accompanied by an audio piece by \u003ca href=\"https://soundcloud.com/000arc000\" target=\"_blank\" rel=\"noopener\">(((arc)))\u003c/a>, the sound project of film artist \u003ca href=\"http://m.eastbayexpress.com/oakland/where-films-become-performance/Content?oid=3879769\">Tooth\u003c/a>, to be debuted that evening.\u003c/p>\n\u003cp>All these moving parts might seem complicated, but the democracy of the artists’ process flows smoothly through each component. Unique additions from each participant are essential, manifesting a harmonious creative environment that honors experimentation and variation.\u003c/p>\n\u003cp>Crallé’s installation — open for viewing during regular gallery hours — dominates the small space, but the room remains airy. The walls are covered in white paper printed with a thick, impasto pattern of white bricks. Stretching onto the concrete floor, the paper extends across the room, creating an illusion that is broken by two scroll-like pieces of paper hanging on the wall.\u003c/p>\n\u003cp>Crallé’s brick-patterned paper references the gallery’s own walls, completely hidden by the installation. Amplifying this characteristic creates an impression beyond the meta reference: the result is something institutional, almost reminiscent of padded walls of a sanitarium, a tiled hospital room, or (perhaps less threatening) a communal bathhouse. The handcrafted mark of the pattern, however, disrupts the environment’s austerity. And, perhaps more than anything, the quirky, unexplained forms zig-zagging across the room animate the space.\u003c/p>\n\u003cfigure id=\"attachment_11347649\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11347649\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-600x600.jpg\" alt=\"Making Plain (2016) at Interface Gallery, Oakland. Photo: Lisa Rybovich Crallé. \" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MakingPlain2_sm.jpg 1980w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Making Plain (2016) at Interface Gallery, Oakland. Photo: Lisa Rybovich Crallé.\u003c/figcaption>\u003c/figure>\n\u003cp>Three geometric shapes, made of wood outlines covered in the patterned paper, jut into and cut through the room. The angles create framing devices for viewers and curious obstacles for the dancers when they enter the room. The performers engage the shapes as possible cues for their own posture, steps and travels — all the while wearing matching white-brick printed attire, a continuation of Crallé and Wang’s examination of camouflage in their joint artistic practice.\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>Blackburn, Kumeh and Wang allow themselves to react to the room and each other through a series of pre-established movement sequences. In one sequence, Kumeh and Wang press closely against each other’s bodies in a stilted shuffle, an intimate yet imperfect matching of their movements. Yet another exercise found Kumeh mirroring Wang’s crab-like walk as their two bodies dissonantly march at a strange angle. Blackburn, across the room, likewise responds to their shapes with her own shifts. In this sequence, the angle of their legs suggests a fictional plane of space across which they might be crawling.\u003c/p>\n\u003cp>The title \u003cem>Making Plain\u003c/em> becomes a pun in which the performers create the illusion of new dimensional planes for their movement. But the title, too, might indicate the transparency of their collaborative process, since Manners opened two of their workshops to the public (Feb. 19 and 20). Plain, too, could be the blankness of a white-walled gallery space made strange by the installation’s paper sprawl.\u003c/p>\n\u003cp>Such conceptual puns seem to fit Manners’, well, manner. Manners are the ways we behave towards others within an established set of rules, but they also indicate the possible eccentricities within. \u003cem>Making Plain\u003c/em> puts on view the ways in which the dancers become fully absorbed into the constructed scene, and enter into a spatial relationship with each other.\u003c/p>\n\u003cp>Facing a corner, each other or a wooden shape, they each seem to fall into another dimension of play and expression, entranced within their series of reactions. As a collaborative and interdisciplinary project, \u003cem>Making Plain\u003c/em> reflects the ways that each individual — choreographer, dancer, visual artist, sound artist — might interpret an established set of parameters. The project is an inexact structure open to disharmony and imperfections, which seem to be fully embraced as an essential part of the process. \u003cem>Making Plain\u003c/em> emerges as a whole-hearted, nearly utopic exercise in giving each participant’s voice value in the creation of an experience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Making Plain\u003c/em>\u003c/strong> is on view at Interface Gallery in Oakland through Feb. 28, 2016, with a public performance on Feb. 27, 5-6 pm. For more information visit \u003ca href=\"http://www.interfaceartgallery.com/\" target=\"_blank\" rel=\"noopener\">interfacegallery.com\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11347526/manners-performs-utopic-bodily-engagements-at-interface-gallery",
"authors": [
"8623"
],
"categories": [
"arts_966",
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11350217",
"label": "arts"
},
"arts_11344489": {
"type": "posts",
"id": "arts_11344489",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11344489",
"score": null,
"sort": [
1456009223000
]
},
"guestAuthors": [],
"slug": "anna-lopez-ochoas-prism-gleams-at-silicon-valley-ballet",
"title": "Anna Lopez Ochoa’s 'Prism' gleams at Silicon Valley Ballet",
"publishDate": 1456009223,
"format": "standard",
"headTitle": "Anna Lopez Ochoa’s ‘Prism’ gleams at Silicon Valley Ballet | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>On January 24, 1975, a 29-year-old American arrived to play a solo concert at the opera house in Cologne. Sleepless and hungry, he discovered that he had been furnished a shoddy piano and nearly refused to perform.\u003c/p>\n\u003cp>The recording from that concert, over an hour of mercurial improvisation, went on to become the bestselling piano album in music history.\u003c/p>\n\u003cp>To the first 30 minutes of Keith Jarrett’s legendary \u003cem>The Köln Concert\u003c/em>, Colombian-Belgian choreographer Annabelle Lopez Ochoa has crafted \u003cem>Prism\u003c/em>. It’s a reverie for 10 dancers, delivered last night by Silicon Valley Ballet with allure and panache as part of the company’s \u003ca href=\"http://siliconvalleyballet.org/directors-choice/\" target=\"_blank\" rel=\"noopener\">“Director’s Choice”\u003c/a> program.\u003c/p>\n\u003cp>\u003cem>Prism\u003c/em> takes unexpected turns in concert with Jarrett’s improvisations, which hint at gospel, blues, lilting folk melodies, Rachmaninoff, and shimmering pattern music. The dancers weave in and out of each other’s orbit with astonishing fluidity. Though the couplings and triplings are evanescent, moments of stillness yield eloquent, poignant tableaux. When the score turns minimalist, however, Lopez Ochoa wittily mocks contemporary psychosexual ballet — her dancers emerge in clingy leotards with a spidery motif and chic diaphanous gloves, and contort themselves in byzantine poses.\u003c/p>\n\u003cp>Jarrett’s famous vocalizations are heard throughout the score: murmuring, groaning, sighing, crooning, and a satisfied “Yeahhh” – at which moment Lopez Ochoa ships in a couple in bright pink and orange. Among the crackerjack cast on opening night, Ommi Pipit-Suksun made sensational body lines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"SVB Presents Director's Choice\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/9Kb8YPQK71w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Having just blown in from a tour of eight cities in Spain, the company appeared somewhat jet-lagged in the other two big pieces of the evening – Jorma Elo’s frenetic \u003cem>Glow Stop\u003c/em> and Ohad Naharin’s raucous \u003cem>Minus 16\u003c/em>. And it’s best to draw a veil over the classical pas de deux that opened the evening, \u003cem>Diana and Actaeon\u003c/em>, though an adorable Junna Ige and a rather anxious-looking Maykel Solas — who wore a very skimpy veil indeed over areas of critical musculature — tackled the hoary work ably enough.\u003c/p>\n\u003cp>\u003cem>Glow Stop\u003c/em> heaves a mass of punctuation and diacritical marks into the language of ballet. It’s a damned strenuous business for the dancers, who employ their arms, hands and heads as frantically as their legs and feet — and often in opposing directions. The dancers are bits of interlocking machinery, their faces stern and unreadable in the dramatic lighting designed by Brad Fields.\u003c/p>\n\u003cp>19 dancers identically attired in dark suits and fedoras execute the oppressive yet strangely uplifting rituals of \u003cem>Minus 16\u003c/em>. Not every one displays the ideal feral quality of movement. But the haunting scene in which the dancers fling themselves in and out of metal chairs while chanting a traditional Hebrew song is powerful despite the jet-lag, or whatever other affliction the dancers faced.\u003c/p>\n\u003cp>The work also includes moments of audience participation. Of the audience members herded on stage to participate in the final wild scene on opening night, the woman in red and the bearded gentleman in plaid and glasses displayed great aplomb. And the woman with the yellow scarf – possibly a grassroots organizer – showed commendable initiative in her attempt to free the group from what appeared to be a very dicey moment in the clutches of the wily dancers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Silicon Valley Ballet’s “Director’s Choice” program runs through Sunday, Feb. 21 at San Jose Center for the Performing Arts, San Jose. For more information, click \u003ca href=\"http://siliconvalleyballet.org/directors-choice/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Colombian-Belgian choreographer's setting of Keith Jarrett’s legendary 'The Köln Concert' provides the highlight of an ambitious mixed bill marked by uneven performances\r\n",
"status": "publish",
"parent": 0,
"modified": 1726702718,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 596
},
"headData": {
"title": "Anna Lopez Ochoa’s 'Prism' gleams at Silicon Valley Ballet | KQED",
"description": "The Colombian-Belgian choreographer's setting of Keith Jarrett’s legendary 'The Köln Concert' provides the highlight of an ambitious mixed bill marked by uneven performances\r\n",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Anna Lopez Ochoa’s 'Prism' gleams at Silicon Valley Ballet",
"datePublished": "2016-02-20T15:00:23-08:00",
"dateModified": "2024-09-18T16:38:38-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11344489/anna-lopez-ochoas-prism-gleams-at-silicon-valley-ballet",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On January 24, 1975, a 29-year-old American arrived to play a solo concert at the opera house in Cologne. Sleepless and hungry, he discovered that he had been furnished a shoddy piano and nearly refused to perform.\u003c/p>\n\u003cp>The recording from that concert, over an hour of mercurial improvisation, went on to become the bestselling piano album in music history.\u003c/p>\n\u003cp>To the first 30 minutes of Keith Jarrett’s legendary \u003cem>The Köln Concert\u003c/em>, Colombian-Belgian choreographer Annabelle Lopez Ochoa has crafted \u003cem>Prism\u003c/em>. It’s a reverie for 10 dancers, delivered last night by Silicon Valley Ballet with allure and panache as part of the company’s \u003ca href=\"http://siliconvalleyballet.org/directors-choice/\" target=\"_blank\" rel=\"noopener\">“Director’s Choice”\u003c/a> program.\u003c/p>\n\u003cp>\u003cem>Prism\u003c/em> takes unexpected turns in concert with Jarrett’s improvisations, which hint at gospel, blues, lilting folk melodies, Rachmaninoff, and shimmering pattern music. The dancers weave in and out of each other’s orbit with astonishing fluidity. Though the couplings and triplings are evanescent, moments of stillness yield eloquent, poignant tableaux. When the score turns minimalist, however, Lopez Ochoa wittily mocks contemporary psychosexual ballet — her dancers emerge in clingy leotards with a spidery motif and chic diaphanous gloves, and contort themselves in byzantine poses.\u003c/p>\n\u003cp>Jarrett’s famous vocalizations are heard throughout the score: murmuring, groaning, sighing, crooning, and a satisfied “Yeahhh” – at which moment Lopez Ochoa ships in a couple in bright pink and orange. Among the crackerjack cast on opening night, Ommi Pipit-Suksun made sensational body lines.\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>\u003ciframe loading=\"lazy\" title=\"SVB Presents Director's Choice\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/9Kb8YPQK71w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Having just blown in from a tour of eight cities in Spain, the company appeared somewhat jet-lagged in the other two big pieces of the evening – Jorma Elo’s frenetic \u003cem>Glow Stop\u003c/em> and Ohad Naharin’s raucous \u003cem>Minus 16\u003c/em>. And it’s best to draw a veil over the classical pas de deux that opened the evening, \u003cem>Diana and Actaeon\u003c/em>, though an adorable Junna Ige and a rather anxious-looking Maykel Solas — who wore a very skimpy veil indeed over areas of critical musculature — tackled the hoary work ably enough.\u003c/p>\n\u003cp>\u003cem>Glow Stop\u003c/em> heaves a mass of punctuation and diacritical marks into the language of ballet. It’s a damned strenuous business for the dancers, who employ their arms, hands and heads as frantically as their legs and feet — and often in opposing directions. The dancers are bits of interlocking machinery, their faces stern and unreadable in the dramatic lighting designed by Brad Fields.\u003c/p>\n\u003cp>19 dancers identically attired in dark suits and fedoras execute the oppressive yet strangely uplifting rituals of \u003cem>Minus 16\u003c/em>. Not every one displays the ideal feral quality of movement. But the haunting scene in which the dancers fling themselves in and out of metal chairs while chanting a traditional Hebrew song is powerful despite the jet-lag, or whatever other affliction the dancers faced.\u003c/p>\n\u003cp>The work also includes moments of audience participation. Of the audience members herded on stage to participate in the final wild scene on opening night, the woman in red and the bearded gentleman in plaid and glasses displayed great aplomb. And the woman with the yellow scarf – possibly a grassroots organizer – showed commendable initiative in her attempt to free the group from what appeared to be a very dicey moment in the clutches of the wily dancers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Silicon Valley Ballet’s “Director’s Choice” program runs through Sunday, Feb. 21 at San Jose Center for the Performing Arts, San Jose. For more information, click \u003ca href=\"http://siliconvalleyballet.org/directors-choice/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11344489/anna-lopez-ochoas-prism-gleams-at-silicon-valley-ballet",
"authors": [
"11206"
],
"programs": [
"arts_140"
],
"categories": [
"arts_966",
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11344490",
"label": "arts_140"
},
"arts_11316687": {
"type": "posts",
"id": "arts_11316687",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11316687",
"score": null,
"sort": [
1455231617000
]
},
"guestAuthors": [],
"slug": "halprins-experiments-in-environment-still-radical-50-years-later",
"title": "Halprins’ ‘Experiments in Environment’ Still Radical, 50 Years Later",
"publishDate": 1455231617,
"format": "standard",
"headTitle": "Halprins’ ‘Experiments in Environment’ Still Radical, 50 Years Later | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>In the Venn diagram of dance and architecture, one might think the two circles have very little overlap. But in 1966, dance pioneer \u003ca href=\"http://ww2.kqed.org/spark/anna-halprin/\" target=\"_blank\" rel=\"noopener\">Anna Halprin\u003c/a> and her husband, landscape architect Lawrence Halprin, sought to intermingle the two in an experimental summer workshop for students of both disciplines. The workshops, led by the couple three times over the next five years, are captured in an exhibition of photographs, ephemera, video and drawings at San Francisco’s \u003ca href=\"http://www.californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener\">California Historical Society\u003c/a>. Originally exhibited at the Graham Foundation in Chicago, \u003ci>Experiments in Environment: The Halprin Workshops 1966-1971\u003c/i> brings its cross-disciplinary lesson plan back to the region of its own making.\u003c/p>\n\u003cfigure id=\"attachment_11316701\" class=\"wp-caption alignright\" style=\"max-width: 458px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11316701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/AnnaLawrence640.jpg\" alt=\"Photographer unknonwn, Anna and Lawrence Halprin, circa 1940.\" width=\"458\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/AnnaLawrence640.jpg 458w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/AnnaLawrence640-400x559.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/AnnaLawrence640-429x600.jpg 429w\" sizes=\"(max-width: 458px) 100vw, 458px\">\u003cfigcaption class=\"wp-caption-text\">Photographer unknonwn, Anna and Lawrence Halprin, circa 1940. \u003ccite>(Courtesy of Anna Halprin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple’s “Experiments in Environment” were investigations into urban and natural environments and ways in which bodies move through them. Today the workshop descriptions set off all the buzzword alarms for new-agey, cringeworthy language, but the activities — from blindfolded walking to collective building projects to dances choreographed for city plazas — remain radical.\u003c/p>\n\u003cp>In fact, the current exhibition at the CHS inspires a not immodest amount of jealousy. While expanding notions of dance, architecture, community and environment, workshop participants had what looks like a hell of a lot of fun.\u003c/p>\n\u003cp>Those participants for the most part appear to be young, handsome architecture students, budding artists and dancers. A vitrine filled with applications from workshop hopefuls is priceless, including a letter from a 24-year-old \u003ca href=\"http://artsites.ucsc.edu/faculty/lord/\" target=\"_blank\" rel=\"noopener\">Chip Lord\u003c/a>, who would become known as one of the founders of the collective Ant Farm, “\u003ca href=\"http://ww2.kqed.org/arts/2015/03/20/kill-your-tv-how-bay-area-video-art-exploded-in-the-1970s/\" target=\"_blank\" rel=\"noopener\">court jesters of the Bay Area video arts scene\u003c/a>” in the 1970s.\u003c/p>\n\u003cp>“I feel that this experience will make clear personel (sic) concepts which have been clouded or repressed by inexperience and professional school rigidity,” Lord writes in his appeal.\u003c/p>\n\u003cfigure id=\"attachment_11316702\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11316702\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200.jpg\" alt=\"'Blindfold Walk,' Kentfield, CA. Experiments in Environment Workshop, July 2, 1968.\" width=\"1200\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-960x646.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Blindfold Walk,’ Kentfield, CA. Experiments in Environment Workshop, July 2, 1968. \u003ccite>(Courtesy Lawrence Halprin Collection, The Architectural Archives, University of Pennsylvania)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another letter from a 32-year-old Joan Jonas (who went on to have her own star-studded career, most recently as the \u003ca href=\"http://joanjonasvenice2015.com/\" target=\"_blank\" rel=\"noopener\">United States’ representative at the 2015 Venice Biennale\u003c/a>) says, “I hope there is still room.” Based on the exhibition’s list of 1968 workshop participants, she didn’t make the cut.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 1968 workshop is the most thoroughly represented in the material on view at the CHS. From July 1-24 of that year, 20 dancers, 14 architects and 8 faculty members moved between San Francisco, the Halprins’ home in Kentfield and the Sonoma coastal community at Sea Ranch (which Lawrence Halprin designed). The 24 days were filled with exercises like “Sensory Walk,” “Ritual Group Drawing” and “Manipulating Bodies.” At the CHS, a large-scale horizontal sepia print \u003ci>Score for a 24-Day Workshop\u003c/i> details the complete daily activities of the group, filled from morning to night.\u003c/p>\n\u003cfigure id=\"attachment_11316704\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11316704\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Lunch1200.jpg\" alt=\"Lawrence Halprin, illustrator, 'Lunch, Score for a Dance by Anna Halprin,' 1968.\" width=\"1200\" height=\"940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-766x600.jpg 766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-960x752.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lawrence Halprin, illustrator, ‘Lunch, Score for a Dance by Anna Halprin,’ 1968. \u003ccite>(Lawrence Halprin, illustrator, 'Lunch, Score for a Dance by Anna Halprin,' 1968.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearby vitrines contain the Halprins’ “scores,” directions for activities that are both specific and open-ended, providing participants with comfort-zone expanding guidelines for exploring their surroundings.\u003c/p>\n\u003cp>Some scores are theatrical. “Skyscraper Event” tells participants to travel between two San Francisco skyscrapers with an adopted personality. “Interact with the people in these buildings,” the score says. “Notice how you experience the environment and the people you contact.”\u003c/p>\n\u003cp>Other scores look inwards. “Sensory Walk” decrees: “Focus on each sense isolated from the others long enough so you are really digging it with that one sense before using the next sense.”\u003c/p>\n\u003cfigure id=\"attachment_11316934\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11316934\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200.jpg\" alt=\"'Ritual Group Drawing,' Sea Ranch, CA. Experiments in Environment Workshop, July 8, 1968.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-960x641.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Ritual Group Drawing,’ Sea Ranch, CA. Experiments in Environment Workshop, July 8, 1968. \u003ccite>(Courtesy Lawrence Halprin Collection, The Architetural Archives, University of Pennsylvania)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is the cringeworthy buzzword alarm ringing? Shed for a moment preconceived notions of aimless wandering and “finding oneself” in the assembly of a driftwood city (another all-day workshop activity). The Halprin workshops were part of a movement too often distilled down to Timothy Leary’s misunderstood exhortation to “\u003ca href=\"https://en.wikipedia.org/wiki/Turn_on,_tune_in,_drop_out\" target=\"_blank\" rel=\"noopener\">Turn on, tune in, drop out.\u003c/a>”\u003c/p>\n\u003cp>An accompanying display of material from the CHS’s collection gives context to the era through a number of countercultural artistic and lifestyle movements, including objects relating to the \u003ca href=\"http://www.diggers.org/\" target=\"_blank\" rel=\"noopener\">Diggers\u003c/a>, the \u003ca href=\"http://www.diggers.org/kaliflower/kf.htm\" target=\"_blank\" rel=\"noopener\">Kaliflower Commune\u003c/a>, \u003ca href=\"http://www.alivinglibrary.org/Sprouts_Crossroads.html\" target=\"_blank\" rel=\"noopener\">Crossroads Community (The Farm)\u003c/a>, the \u003ca href=\"https://en.wikipedia.org/wiki/Black_Panther_Party\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a> and the \u003ca href=\"https://en.wikipedia.org/wiki/Free_Speech_Movement\" target=\"_blank\" rel=\"noopener\">Free Speech Movement\u003c/a>.\u003c/p>\n\u003cp>The Halprin workshops, as demonstrated throughout the exhibition, were highly organized, carefully crafted learning environments that purposely abandoned classrooms, tangible outcomes and professorial authority.\u003c/p>\n\u003cp>The radical “transformative” effect of this approach was felt by even the organizers. Lawrence Halprin, in his own evaluation of the 1968 workshop, wrote, “I, once again, believe deeply in process.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Experiments in Environment: The Halprin Workshops 1966-1971\u003c/b>\u003c/i> is on view at the California Historical Society in San Francisco through July 3, 2016. For more information visit \u003ca href=\"http://experiments.californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener\">experiments.californiahistoricalsociety.org\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The California Historical Society showcases ephemera from Anna and Lawrence Halprin's experimental dance and architecture workshops.",
"status": "publish",
"parent": 0,
"modified": 1726788191,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 858
},
"headData": {
"title": "Halprins’ ‘Experiments in Environment’ Still Radical, 50 Years Later | KQED",
"description": "The California Historical Society showcases ephemera from Anna and Lawrence Halprin's experimental dance and architecture workshops.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Halprins’ ‘Experiments in Environment’ Still Radical, 50 Years Later",
"datePublished": "2016-02-11T15:00:17-08:00",
"dateModified": "2024-09-19T16:23:11-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11316687/halprins-experiments-in-environment-still-radical-50-years-later",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Venn diagram of dance and architecture, one might think the two circles have very little overlap. But in 1966, dance pioneer \u003ca href=\"http://ww2.kqed.org/spark/anna-halprin/\" target=\"_blank\" rel=\"noopener\">Anna Halprin\u003c/a> and her husband, landscape architect Lawrence Halprin, sought to intermingle the two in an experimental summer workshop for students of both disciplines. The workshops, led by the couple three times over the next five years, are captured in an exhibition of photographs, ephemera, video and drawings at San Francisco’s \u003ca href=\"http://www.californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener\">California Historical Society\u003c/a>. Originally exhibited at the Graham Foundation in Chicago, \u003ci>Experiments in Environment: The Halprin Workshops 1966-1971\u003c/i> brings its cross-disciplinary lesson plan back to the region of its own making.\u003c/p>\n\u003cfigure id=\"attachment_11316701\" class=\"wp-caption alignright\" style=\"max-width: 458px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11316701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/AnnaLawrence640.jpg\" alt=\"Photographer unknonwn, Anna and Lawrence Halprin, circa 1940.\" width=\"458\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/AnnaLawrence640.jpg 458w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/AnnaLawrence640-400x559.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/AnnaLawrence640-429x600.jpg 429w\" sizes=\"(max-width: 458px) 100vw, 458px\">\u003cfigcaption class=\"wp-caption-text\">Photographer unknonwn, Anna and Lawrence Halprin, circa 1940. \u003ccite>(Courtesy of Anna Halprin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The couple’s “Experiments in Environment” were investigations into urban and natural environments and ways in which bodies move through them. Today the workshop descriptions set off all the buzzword alarms for new-agey, cringeworthy language, but the activities — from blindfolded walking to collective building projects to dances choreographed for city plazas — remain radical.\u003c/p>\n\u003cp>In fact, the current exhibition at the CHS inspires a not immodest amount of jealousy. While expanding notions of dance, architecture, community and environment, workshop participants had what looks like a hell of a lot of fun.\u003c/p>\n\u003cp>Those participants for the most part appear to be young, handsome architecture students, budding artists and dancers. A vitrine filled with applications from workshop hopefuls is priceless, including a letter from a 24-year-old \u003ca href=\"http://artsites.ucsc.edu/faculty/lord/\" target=\"_blank\" rel=\"noopener\">Chip Lord\u003c/a>, who would become known as one of the founders of the collective Ant Farm, “\u003ca href=\"http://ww2.kqed.org/arts/2015/03/20/kill-your-tv-how-bay-area-video-art-exploded-in-the-1970s/\" target=\"_blank\" rel=\"noopener\">court jesters of the Bay Area video arts scene\u003c/a>” in the 1970s.\u003c/p>\n\u003cp>“I feel that this experience will make clear personel (sic) concepts which have been clouded or repressed by inexperience and professional school rigidity,” Lord writes in his appeal.\u003c/p>\n\u003cfigure id=\"attachment_11316702\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11316702\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200.jpg\" alt=\"'Blindfold Walk,' Kentfield, CA. Experiments in Environment Workshop, July 2, 1968.\" width=\"1200\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BlindfoldWalk1200-960x646.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Blindfold Walk,’ Kentfield, CA. Experiments in Environment Workshop, July 2, 1968. \u003ccite>(Courtesy Lawrence Halprin Collection, The Architectural Archives, University of Pennsylvania)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another letter from a 32-year-old Joan Jonas (who went on to have her own star-studded career, most recently as the \u003ca href=\"http://joanjonasvenice2015.com/\" target=\"_blank\" rel=\"noopener\">United States’ representative at the 2015 Venice Biennale\u003c/a>) says, “I hope there is still room.” Based on the exhibition’s list of 1968 workshop participants, she didn’t make the cut.\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>The 1968 workshop is the most thoroughly represented in the material on view at the CHS. From July 1-24 of that year, 20 dancers, 14 architects and 8 faculty members moved between San Francisco, the Halprins’ home in Kentfield and the Sonoma coastal community at Sea Ranch (which Lawrence Halprin designed). The 24 days were filled with exercises like “Sensory Walk,” “Ritual Group Drawing” and “Manipulating Bodies.” At the CHS, a large-scale horizontal sepia print \u003ci>Score for a 24-Day Workshop\u003c/i> details the complete daily activities of the group, filled from morning to night.\u003c/p>\n\u003cfigure id=\"attachment_11316704\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11316704\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Lunch1200.jpg\" alt=\"Lawrence Halprin, illustrator, 'Lunch, Score for a Dance by Anna Halprin,' 1968.\" width=\"1200\" height=\"940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-766x600.jpg 766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-1180x924.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Lunch1200-960x752.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lawrence Halprin, illustrator, ‘Lunch, Score for a Dance by Anna Halprin,’ 1968. \u003ccite>(Lawrence Halprin, illustrator, 'Lunch, Score for a Dance by Anna Halprin,' 1968.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearby vitrines contain the Halprins’ “scores,” directions for activities that are both specific and open-ended, providing participants with comfort-zone expanding guidelines for exploring their surroundings.\u003c/p>\n\u003cp>Some scores are theatrical. “Skyscraper Event” tells participants to travel between two San Francisco skyscrapers with an adopted personality. “Interact with the people in these buildings,” the score says. “Notice how you experience the environment and the people you contact.”\u003c/p>\n\u003cp>Other scores look inwards. “Sensory Walk” decrees: “Focus on each sense isolated from the others long enough so you are really digging it with that one sense before using the next sense.”\u003c/p>\n\u003cfigure id=\"attachment_11316934\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11316934\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200.jpg\" alt=\"'Ritual Group Drawing,' Sea Ranch, CA. Experiments in Environment Workshop, July 8, 1968.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RitualGroupDrawing1200-960x641.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Ritual Group Drawing,’ Sea Ranch, CA. Experiments in Environment Workshop, July 8, 1968. \u003ccite>(Courtesy Lawrence Halprin Collection, The Architetural Archives, University of Pennsylvania)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is the cringeworthy buzzword alarm ringing? Shed for a moment preconceived notions of aimless wandering and “finding oneself” in the assembly of a driftwood city (another all-day workshop activity). The Halprin workshops were part of a movement too often distilled down to Timothy Leary’s misunderstood exhortation to “\u003ca href=\"https://en.wikipedia.org/wiki/Turn_on,_tune_in,_drop_out\" target=\"_blank\" rel=\"noopener\">Turn on, tune in, drop out.\u003c/a>”\u003c/p>\n\u003cp>An accompanying display of material from the CHS’s collection gives context to the era through a number of countercultural artistic and lifestyle movements, including objects relating to the \u003ca href=\"http://www.diggers.org/\" target=\"_blank\" rel=\"noopener\">Diggers\u003c/a>, the \u003ca href=\"http://www.diggers.org/kaliflower/kf.htm\" target=\"_blank\" rel=\"noopener\">Kaliflower Commune\u003c/a>, \u003ca href=\"http://www.alivinglibrary.org/Sprouts_Crossroads.html\" target=\"_blank\" rel=\"noopener\">Crossroads Community (The Farm)\u003c/a>, the \u003ca href=\"https://en.wikipedia.org/wiki/Black_Panther_Party\" target=\"_blank\" rel=\"noopener\">Black Panther Party\u003c/a> and the \u003ca href=\"https://en.wikipedia.org/wiki/Free_Speech_Movement\" target=\"_blank\" rel=\"noopener\">Free Speech Movement\u003c/a>.\u003c/p>\n\u003cp>The Halprin workshops, as demonstrated throughout the exhibition, were highly organized, carefully crafted learning environments that purposely abandoned classrooms, tangible outcomes and professorial authority.\u003c/p>\n\u003cp>The radical “transformative” effect of this approach was felt by even the organizers. Lawrence Halprin, in his own evaluation of the 1968 workshop, wrote, “I, once again, believe deeply in process.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Experiments in Environment: The Halprin Workshops 1966-1971\u003c/b>\u003c/i> is on view at the California Historical Society in San Francisco through July 3, 2016. For more information visit \u003ca href=\"http://experiments.californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener\">experiments.californiahistoricalsociety.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11316687/halprins-experiments-in-environment-still-radical-50-years-later",
"authors": [
"61"
],
"categories": [
"arts_966",
"arts_70"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11316703",
"label": "arts"
},
"arts_11296345": {
"type": "posts",
"id": "arts_11296345",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11296345",
"score": null,
"sort": [
1454979600000
]
},
"guestAuthors": [],
"slug": "show-me-yours-blow-job-ballet-valentines-day-sock-hop-and-more",
"title": "Show Me Yours: 'Blow Job Ballet,' Valentine's Day Sock Hop, and More",
"publishDate": 1454979600,
"format": "standard",
"headTitle": "Show Me Yours: ‘Blow Job Ballet,’ Valentine’s Day Sock Hop, and More | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>For some doe-eyed couples, Valentine’s Day means sitting across from your squeeze at a rickety, dimly-lit table, eating overpriced, under-cooked food at a restaurant specially bedecked for the occasion with pink tinsel and the strains of 1980s power ballads. But if you’re not that sort of couple — or if you’re single and looking for something unusual to do on Sunday night — consider the very worthy alternative of an evening spent in the company of activist, author and erotic film actor/director Madison Young.\u003c/p>\n\u003cp>Like her mentor, the porn star, experimental performer and educator Annie Sprinkle before her, Young straddles with equal passion two worlds that rarely embrace: the adult entertainment industry (she is the recipient of no less than six Feminist Porn Awards, including snagging the “Hottest Kink Film” title for \u003cem>Bondage Boob Tube\u003c/em> in 2008) — and the rarefied world of avant-garde performance and visual art (Young curates an annual performance art and experimental film event, the \u003cem>Askew Festival\u003c/em>, at the Yerba Buena Center for the Arts, used to run the now-defunct Femina Potens gallery in San Francisco, and has given talks at Yale.)\u003c/p>\n\u003cfigure id=\"attachment_11296350\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296350\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-742x600.jpg\" alt='Madison Young presents her new show \"Reveal All Fear Nothing\"' width=\"742\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-742x600.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-960x777.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971.jpg 1173w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">Madison Young presents her new show “Reveal All Fear Nothing” \u003ccite>(Photo: Courtesy of Madison Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area-based artist’s new multimedia theater piece, \u003cem>\u003ca href=\"https://www.facebook.com/events/1752784434949830/\" target=\"_blank\" rel=\"noopener\">Reveal All Fear Nothing: A Journey in Sex, Love, Porn and Feminism\u003c/a>\u003c/em>, is a contemporary update on the \u003cem>Post Porn Modernist Show\u003c/em>, an iconoclastic performance work that Sprinkle toured internationally from 1989 to the mid 1990s. That show covered Sprinkle’s sexual evolution from her early years as the painfully shy little girl Ellen Steinberg to the voluptuously open and politically forthright Annie Sprinkle in an effort to demystify the sexual underworld.\u003c/p>\n\u003cp>\u003cem>Reveal All Fear Nothing\u003c/em> presents a parallel narrative for a new generation of sexually curious people and radical performance art fans. It charts Young’s own journey through the adult entertainment demimonde, and fittingly takes place in an intimate pop-up auditorium that’s been erected for the purpose in the middle of the gaping Roman Bath set at the SF Armory Building, where Young has spent much of her career to date producing erotic films. The experience promises, among other Valentine’s Day treats, a “blow-job ballet,” a segment involving anal fisting, and a special orgasmic ritual, handed down from mentor to mentee.\u003c/p>\n\u003cp>“No one could to a better adaptation of \u003cem>Post Porn Modernist\u003c/em> than Madison Young,” Annie Sprinkle says. “She’s my porn/art daughter and a sex-art gladiator!” \u003cstrong style=\"line-height: 1.5\">Catch the show Friday, Feb. 12 – Sunday, Feb. 14 at SF Armory, San Francisco. More details \u003ca href=\"https://www.facebook.com/events/1752784434949830/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if blow job ballets aren’t your thing, don’t worry. Here are some other performing arts events to keep you busy around the digital water cooler for days to come.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 28: \u003ca href=\"http://magictheatre.org/season/dogeaters\" target=\"_blank\" rel=\"noopener\">\u003cem>Dogeaters\u003c/em> \u003c/a>at the Magic Theatre, San Francisco\u003c/strong>\u003cbr>\nThe term “dogeaters” is highly derogatory in the Philippines, though it’s quite literal: It means a Filipino who supposedly eat dogs rather than, say, chicken. Jessica Hagedorn’s 1990 novel \u003cem>Dogeaters\u003c/em> gets at the underlying meaning of the term with wit, drama and passion. Set in Manila in the second half of the 20th century during the reign of Ferdinand and Imelda Marcos, the book captures a nation uneasy in its own skin and unsure how to relate to the world beyond its borders. Hagedorn’s stage adaptation of \u003cem>Dogeaters\u003c/em> is as sprawling (there are 34 characters) as it is compelling. The plot ping-pongs between a coming-of-age story about a girl growing up in an upwardly mobile family in the 1950s, and a narrative set in 1982 about a young, hard-up male prostitute who witnesses the murder of a high-profile politician. Magic Theatre artistic director Loretta Greco directs this Bay Area premiere production.\u003c/p>\n\u003cfigure id=\"attachment_11296351\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296351\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-800x533.jpg\" alt=\"Luis Valdez's "Valley of the Heart" presented by El Teatro Campesino at San Jose Stage Company \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luis Valdez’s “Valley of the Heart” presented by El Teatro Campesino at San Jose Stage Company \u003ccite>(Photo: Dave Lepori / El Teatro Campesino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Feb. 10 – Sunday, Mar. 13: El Teatro Campesino presents \u003cem>\u003ca href=\"http://www.thestage.org/season1516/season1516.php#valleyoftheheart\" target=\"_blank\" rel=\"noopener\">Valley of the Heart\u003c/a>\u003c/em> at San Jose Stage, San Jose\u003c/strong>\u003cbr>\nDramatist Luis Valdez grew up on a ranch near San Jose, and only found out later that his family’s homestead had previously been owned by a Japanese-American family that had been sent to an internment camp following World War II. Many years on, Valdez (who made his name in the mid-1980s for the music biopic \u003cem>La Bamba\u003c/em>) transformed this discovery into a \u003cem>Romeo & Juliet\u003c/em>-like drama about a pair of struggling young lovers. When Ben Montano, who comes from a Latino family, falls in love with Japanese-American Teruko Yamaguchi, they struggle to stay together in the face of life-altering events, like the storming of Pearl Harbor and the threat of internment camps. Set in pre-tech Silicon Valley, when San Jose and Cupertino were surrounded by farms, the play reflects both Latino and Japanese cultures. “I think of this play as a Kabuki/Corrido because it blends both cultures,” Valdez says in an article about a 2014 workshop version of the production for the \u003cem>\u003ca href=\"http://www.thestage.org/season1516/season1516.php#valleyoftheheart\" target=\"_blank\" rel=\"noopener\">San Jose Mercury News\u003c/a>\u003c/em>. “I wanted to capture the multicultural fabric of life in this state.”\u003c/p>\n\u003cfigure id=\"attachment_11296352\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296352\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-800x529.jpg\" alt=\"Hot Couture 2015 at The Crucible\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-960x634.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477.jpg 1002w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hot Couture 2015 at The Crucible \u003ccite>(Photo: Heather Hryciw / The Crucible)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Feb. 12 – Saturday, Feb. 13: \u003cem>\u003ca href=\"http://thecrucible.org/hot-couture-2016/\" target=\"_blank\" rel=\"noopener\">Hot Couture 2016\u003c/a>\u003c/em> at The Crucible, Oakland\u003c/strong>\u003cbr>\nNow in its fourth year, this annual mashup of fashion and flames is at heart a wild work of performance art cunningly disguised as a runway show. What else can you expect from a production described as “Burning Man meets Cirque du Soleil”? 18 local fashion designers are working to produce more than 50 haute couture projects with industrial artists providing the fire effects to make the outlandish designs stand out. Look out for sprays of feathers, leather headpieces, and burning staffs. Bay Area radio music host Sterling James emcees the show, which also features a flamenco fire act from Fanna Ara, and live music and dance courtesy of Brazilian performance company Fogo Na Roupa, among other contributors.\u003c/p>\n\u003cfigure id=\"attachment_11296353\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-800x561.jpg\" alt=\"Valentines Day Sock Hop presented by The Presidio Trust\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-1180x828.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-1920x1347.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-960x673.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Valentines Day Sock Hop presented by The Presidio Trust \u003ccite>(Photo: Courtesy of The Presidio Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Feb. 13: \u003cem>\u003ca href=\"http://www.presidio.gov/events/Pages/valentines-day-sock-hop.aspx\" target=\"_blank\" rel=\"noopener\">Valentine’s Day Sock Hop\u003c/a>\u003c/em> at the Presidio Officers Club, San Francisco\u003c/strong>\u003cbr>\nWhat sweeter way to beckon in Valentine’s Day than with an old skool dance? The Presidio Trust’s Sock Hop takes you and your beau back to more innocent times, when “Mr. Sandman” was a perky hit for The Chordettes instead of the title of an unsettling graphic novel series, and grownups wore ribbons in their hair with no sense of irony. The event, back for a second year after the success of last February’s inaugural hop, features live music from The Ely Brothers and The Doubletake Band, dancing with the San Francisco Jitterbugs, and cocktails that will make you feel like you need a dashing chaperone in a ‘57 Chevy to bring you home.\u003c/p>\n\u003cp>And a few more promising performing arts events to keep you off the streets…\u003c/p>\n\u003cp>\u003cstrong>Thursday, Feb. 11 – Saturday, Feb. 13: \u003ca href=\"http://www.cinnabartheater.org/balloonacy/\" target=\"_blank\" rel=\"noopener\">\u003cem>Balloonacy\u003c/em> \u003c/a>at Cinnabar Theater, Petaluma\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Friday, Feb. 12 – Sunday, Mar. 6: Shotgun Players present \u003cem>\u003ca href=\"https://shotgunplayers.org/Online/blastival?menu_id=66312CE9-C728-48E6-A7F3-8EA47CB3D3A5&sToken=1%2C7ff8ad1e%2C56afc435%2C9FE69297-CBFC-4E9E-A71C-E42CD10C65CD%2CO4QfBBMXTGq2T73vj0vIM1u5oAg%3D\" target=\"_blank\" rel=\"noopener\">Blast Theatre Festival\u003c/a>\u003c/em> at the Ashby Stage, Berkeley\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Feb. 13 – Sunday, Feb. 14: Dana Michel’s \u003ca href=\"http://counterpulse.org/?tribe_events=yellow-towel/\" target=\"_blank\" rel=\"noopener\">\u003cem>Yellow Towel\u003c/em> \u003c/a>at Dance Mission, San Francisco\u003c/strong>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Our critic's picks also include world and regional theatrical premieres from El Teatro Campesino and The Magic Theatre",
"status": "publish",
"parent": 0,
"modified": 1726771078,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 1280
},
"headData": {
"title": "Show Me Yours: 'Blow Job Ballet,' Valentine's Day Sock Hop, and More | KQED",
"description": "Our critic's picks also include world and regional theatrical premieres from El Teatro Campesino and The Magic Theatre",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Show Me Yours: 'Blow Job Ballet,' Valentine's Day Sock Hop, and More",
"datePublished": "2016-02-08T17:00:00-08:00",
"dateModified": "2024-09-19T11:37:58-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "466075863",
"path": "/arts/11296345/show-me-yours-blow-job-ballet-valentines-day-sock-hop-and-more",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For some doe-eyed couples, Valentine’s Day means sitting across from your squeeze at a rickety, dimly-lit table, eating overpriced, under-cooked food at a restaurant specially bedecked for the occasion with pink tinsel and the strains of 1980s power ballads. But if you’re not that sort of couple — or if you’re single and looking for something unusual to do on Sunday night — consider the very worthy alternative of an evening spent in the company of activist, author and erotic film actor/director Madison Young.\u003c/p>\n\u003cp>Like her mentor, the porn star, experimental performer and educator Annie Sprinkle before her, Young straddles with equal passion two worlds that rarely embrace: the adult entertainment industry (she is the recipient of no less than six Feminist Porn Awards, including snagging the “Hottest Kink Film” title for \u003cem>Bondage Boob Tube\u003c/em> in 2008) — and the rarefied world of avant-garde performance and visual art (Young curates an annual performance art and experimental film event, the \u003cem>Askew Festival\u003c/em>, at the Yerba Buena Center for the Arts, used to run the now-defunct Femina Potens gallery in San Francisco, and has given talks at Yale.)\u003c/p>\n\u003cfigure id=\"attachment_11296350\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296350\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-742x600.jpg\" alt='Madison Young presents her new show \"Reveal All Fear Nothing\"' width=\"742\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-742x600.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-960x777.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971.jpg 1173w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">Madison Young presents her new show “Reveal All Fear Nothing” \u003ccite>(Photo: Courtesy of Madison Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area-based artist’s new multimedia theater piece, \u003cem>\u003ca href=\"https://www.facebook.com/events/1752784434949830/\" target=\"_blank\" rel=\"noopener\">Reveal All Fear Nothing: A Journey in Sex, Love, Porn and Feminism\u003c/a>\u003c/em>, is a contemporary update on the \u003cem>Post Porn Modernist Show\u003c/em>, an iconoclastic performance work that Sprinkle toured internationally from 1989 to the mid 1990s. That show covered Sprinkle’s sexual evolution from her early years as the painfully shy little girl Ellen Steinberg to the voluptuously open and politically forthright Annie Sprinkle in an effort to demystify the sexual underworld.\u003c/p>\n\u003cp>\u003cem>Reveal All Fear Nothing\u003c/em> presents a parallel narrative for a new generation of sexually curious people and radical performance art fans. It charts Young’s own journey through the adult entertainment demimonde, and fittingly takes place in an intimate pop-up auditorium that’s been erected for the purpose in the middle of the gaping Roman Bath set at the SF Armory Building, where Young has spent much of her career to date producing erotic films. The experience promises, among other Valentine’s Day treats, a “blow-job ballet,” a segment involving anal fisting, and a special orgasmic ritual, handed down from mentor to mentee.\u003c/p>\n\u003cp>“No one could to a better adaptation of \u003cem>Post Porn Modernist\u003c/em> than Madison Young,” Annie Sprinkle says. “She’s my porn/art daughter and a sex-art gladiator!” \u003cstrong style=\"line-height: 1.5\">Catch the show Friday, Feb. 12 – Sunday, Feb. 14 at SF Armory, San Francisco. More details \u003ca href=\"https://www.facebook.com/events/1752784434949830/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if blow job ballets aren’t your thing, don’t worry. Here are some other performing arts events to keep you busy around the digital water cooler for days to come.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 28: \u003ca href=\"http://magictheatre.org/season/dogeaters\" target=\"_blank\" rel=\"noopener\">\u003cem>Dogeaters\u003c/em> \u003c/a>at the Magic Theatre, San Francisco\u003c/strong>\u003cbr>\nThe term “dogeaters” is highly derogatory in the Philippines, though it’s quite literal: It means a Filipino who supposedly eat dogs rather than, say, chicken. Jessica Hagedorn’s 1990 novel \u003cem>Dogeaters\u003c/em> gets at the underlying meaning of the term with wit, drama and passion. Set in Manila in the second half of the 20th century during the reign of Ferdinand and Imelda Marcos, the book captures a nation uneasy in its own skin and unsure how to relate to the world beyond its borders. Hagedorn’s stage adaptation of \u003cem>Dogeaters\u003c/em> is as sprawling (there are 34 characters) as it is compelling. The plot ping-pongs between a coming-of-age story about a girl growing up in an upwardly mobile family in the 1950s, and a narrative set in 1982 about a young, hard-up male prostitute who witnesses the murder of a high-profile politician. Magic Theatre artistic director Loretta Greco directs this Bay Area premiere production.\u003c/p>\n\u003cfigure id=\"attachment_11296351\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296351\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-800x533.jpg\" alt=\"Luis Valdez's "Valley of the Heart" presented by El Teatro Campesino at San Jose Stage Company \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luis Valdez’s “Valley of the Heart” presented by El Teatro Campesino at San Jose Stage Company \u003ccite>(Photo: Dave Lepori / El Teatro Campesino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Feb. 10 – Sunday, Mar. 13: El Teatro Campesino presents \u003cem>\u003ca href=\"http://www.thestage.org/season1516/season1516.php#valleyoftheheart\" target=\"_blank\" rel=\"noopener\">Valley of the Heart\u003c/a>\u003c/em> at San Jose Stage, San Jose\u003c/strong>\u003cbr>\nDramatist Luis Valdez grew up on a ranch near San Jose, and only found out later that his family’s homestead had previously been owned by a Japanese-American family that had been sent to an internment camp following World War II. Many years on, Valdez (who made his name in the mid-1980s for the music biopic \u003cem>La Bamba\u003c/em>) transformed this discovery into a \u003cem>Romeo & Juliet\u003c/em>-like drama about a pair of struggling young lovers. When Ben Montano, who comes from a Latino family, falls in love with Japanese-American Teruko Yamaguchi, they struggle to stay together in the face of life-altering events, like the storming of Pearl Harbor and the threat of internment camps. Set in pre-tech Silicon Valley, when San Jose and Cupertino were surrounded by farms, the play reflects both Latino and Japanese cultures. “I think of this play as a Kabuki/Corrido because it blends both cultures,” Valdez says in an article about a 2014 workshop version of the production for the \u003cem>\u003ca href=\"http://www.thestage.org/season1516/season1516.php#valleyoftheheart\" target=\"_blank\" rel=\"noopener\">San Jose Mercury News\u003c/a>\u003c/em>. “I wanted to capture the multicultural fabric of life in this state.”\u003c/p>\n\u003cfigure id=\"attachment_11296352\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296352\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-800x529.jpg\" alt=\"Hot Couture 2015 at The Crucible\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-960x634.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477.jpg 1002w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hot Couture 2015 at The Crucible \u003ccite>(Photo: Heather Hryciw / The Crucible)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Feb. 12 – Saturday, Feb. 13: \u003cem>\u003ca href=\"http://thecrucible.org/hot-couture-2016/\" target=\"_blank\" rel=\"noopener\">Hot Couture 2016\u003c/a>\u003c/em> at The Crucible, Oakland\u003c/strong>\u003cbr>\nNow in its fourth year, this annual mashup of fashion and flames is at heart a wild work of performance art cunningly disguised as a runway show. What else can you expect from a production described as “Burning Man meets Cirque du Soleil”? 18 local fashion designers are working to produce more than 50 haute couture projects with industrial artists providing the fire effects to make the outlandish designs stand out. Look out for sprays of feathers, leather headpieces, and burning staffs. Bay Area radio music host Sterling James emcees the show, which also features a flamenco fire act from Fanna Ara, and live music and dance courtesy of Brazilian performance company Fogo Na Roupa, among other contributors.\u003c/p>\n\u003cfigure id=\"attachment_11296353\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-800x561.jpg\" alt=\"Valentines Day Sock Hop presented by The Presidio Trust\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-1180x828.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-1920x1347.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-960x673.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Valentines Day Sock Hop presented by The Presidio Trust \u003ccite>(Photo: Courtesy of The Presidio Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Feb. 13: \u003cem>\u003ca href=\"http://www.presidio.gov/events/Pages/valentines-day-sock-hop.aspx\" target=\"_blank\" rel=\"noopener\">Valentine’s Day Sock Hop\u003c/a>\u003c/em> at the Presidio Officers Club, San Francisco\u003c/strong>\u003cbr>\nWhat sweeter way to beckon in Valentine’s Day than with an old skool dance? The Presidio Trust’s Sock Hop takes you and your beau back to more innocent times, when “Mr. Sandman” was a perky hit for The Chordettes instead of the title of an unsettling graphic novel series, and grownups wore ribbons in their hair with no sense of irony. The event, back for a second year after the success of last February’s inaugural hop, features live music from The Ely Brothers and The Doubletake Band, dancing with the San Francisco Jitterbugs, and cocktails that will make you feel like you need a dashing chaperone in a ‘57 Chevy to bring you home.\u003c/p>\n\u003cp>And a few more promising performing arts events to keep you off the streets…\u003c/p>\n\u003cp>\u003cstrong>Thursday, Feb. 11 – Saturday, Feb. 13: \u003ca href=\"http://www.cinnabartheater.org/balloonacy/\" target=\"_blank\" rel=\"noopener\">\u003cem>Balloonacy\u003c/em> \u003c/a>at Cinnabar Theater, Petaluma\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Friday, Feb. 12 – Sunday, Mar. 6: Shotgun Players present \u003cem>\u003ca href=\"https://shotgunplayers.org/Online/blastival?menu_id=66312CE9-C728-48E6-A7F3-8EA47CB3D3A5&sToken=1%2C7ff8ad1e%2C56afc435%2C9FE69297-CBFC-4E9E-A71C-E42CD10C65CD%2CO4QfBBMXTGq2T73vj0vIM1u5oAg%3D\" target=\"_blank\" rel=\"noopener\">Blast Theatre Festival\u003c/a>\u003c/em> at the Ashby Stage, Berkeley\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Feb. 13 – Sunday, Feb. 14: Dana Michel’s \u003ca href=\"http://counterpulse.org/?tribe_events=yellow-towel/\" target=\"_blank\" rel=\"noopener\">\u003cem>Yellow Towel\u003c/em> \u003c/a>at Dance Mission, San Francisco\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11296345/show-me-yours-blow-job-ballet-valentines-day-sock-hop-and-more",
"authors": [
"8608"
],
"programs": [
"arts_140"
],
"categories": [
"arts_968",
"arts_966",
"arts_76",
"arts_69",
"arts_967"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_11296348",
"label": "arts_140"
},
"arts_11300926": {
"type": "posts",
"id": "arts_11300926",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11300926",
"score": null,
"sort": [
1454702459000
]
},
"guestAuthors": [],
"slug": "the-other-big-party-how-the-south-bay-celebrates-lunar-new-year",
"title": "The Other Big Party: How Silicon Valley Celebrates Lunar New Year",
"publishDate": 1454702459,
"format": "standard",
"headTitle": "The Other Big Party: How Silicon Valley Celebrates Lunar New Year | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Lunar New Year hits on Monday and with \u003ca href=\"http://factfinder.census.gov/faces/tableservices/jsf/pages/productview.xhtml\" target=\"_blank\" rel=\"noopener noreferrer\">more than half a million ethnic Chinese\u003c/a> living in the Bay Area, it’s a big deal here. It’s a big deal for many Asian cultures, but the huge influx immigrants from China to work in Silicon Valley in recent years has stimulated the region’s excitement around this holiday season.\u003c/p>\n\u003cp>Traditionally, festivities begin the day before the New Year, a date decided by the Chinese lunar calendar — which is why it feels like the start varies year to year — and continues on for two weeks.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/245606170″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=’166′ iframe=”true” /]\u003c/p>\n\u003cp>But for Bay Area families, there’s an extra kickoff festivity this year: the Super Bowl. The timing is such it’s possible to tune in to the big game Sunday afternoon, and then switch over afterwards to the \u003ca href=\"https://www.youtube.com/channel/UCo3T0jF2PAD_KxqWiruqcDg\" target=\"_blank\" rel=\"noopener noreferrer\">gala broadcast\u003c/a> from mainland China, joining well over a billion viewers around the world. (Just a few more than \u003ca href=\"http://money.cnn.com/2015/02/02/media/super-bowl-ratings/\" target=\"_blank\" rel=\"noopener noreferrer\">watch the Super Bowl\u003c/a>.)\u003c/p>\n\u003cp>After the gala comes a plethora of festivals, which are happening all over the South Bay. New to the celebrations is the \u003ca href=\"http://pa-cpc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Palo Alto Chinese Parents’ Club,\u003c/a> which is co-hosting its first ever Chinese New Year Fair. Like most other fairs, it will include lion dances, martial arts demonstrations, arts and crafts seminars for the kids, and traditional foods like dumplings.\u003c/p>\n\u003cfigure id=\"attachment_11301763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11301763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-800x379.jpg\" alt=\"The start of a new tradition?\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-400x190.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-960x455.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut.jpg 964w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The start of a new tradition? \u003ccite>(Courtesy Palo Alto Chinese Parents’ Club)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This event was designed as a community building event. It’s a platform for the Chinese community and greater community to connect,” says Palo Alto Chinese Parents’ Club co-founder Debra Cen, who helped start the club to help new immigrants integrate with Palo Alto’s community, as well as extend a welcoming hand to those unfamiliar with Chinese culture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The money raised from the fair will be donated to the local school district. That, combined with the goal of the fair, is why Cen and her fellow club members are hoping the city of Palo Alto co-sponsors their New Year festivals in years to come.\u003c/p>\n\u003cp>Other Bay Area cities like \u003ca href=\"http://www.redwoodcity.org/residents/redwood-city-events/cultural/lunar-new-year\" target=\"_blank\" rel=\"noopener noreferrer\">Redwood City\u003c/a> already do. As a matter of fact, Redwood City Councilman Jeff Gee not only organizes that local festival — this year it’s on Feb. 27 — he’s also the official photographer.\u003c/p>\n\u003cfigure id=\"attachment_11301762\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11301762 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-400x600.jpg\" alt=\"A toddler can't help but reach out to check out this lion at a recent Redwood City's Lunar New Year Celebration.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-960x1440.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A toddler can’t help but reach out to check out this lion at a recent Redwood City’s Lunar New Year Celebration. \u003ccite>(Courtesy Jeff Gee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ll probably have 3-5,000 people from all over the Bay Area. It’s just grown every single year. It’s been pretty amazing,” Gee says.\u003c/p>\n\u003cp>Lunar New Year is also a big deal for the Vietnamese, and Ha Vy, who helps organize the \u003ca href=\"http://www.tetvietnamsj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnam Tet Festival 2016\u003c/a> in San Jose, says she expects 20,000 people to turn up at the Santa Clara County Fairgrounds Feb. 13 & 14. As with Chinese New Year, you can expect to see lion dances, and martial arts demonstrations, but the food will be decidedly Vietnamese: bbq, egg rolls, spring rolls, bánh mì, and the like.\u003c/p>\n\u003cp>“Every family has a different way of doing it, but essentially, they all try to come together and spend the holiday together. Like Thanksgiving. It’s the same concept,” Vy says.\u003c/p>\n\u003cfigure id=\"attachment_11301767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11301767\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-800x600.jpg\" alt=\"Vietnamese Tet Festival aims to attract a broad audience. Organizer Ha Thy says “We have some people that have been calling from So Cal trying to get tickets.” One person called from Tennessee planning a family reunion in San Jose.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-960x721.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vietnamese Tet Festival aims to attract a broad audience. Organizer Ha Vy says “We have some people that have been calling from So Cal trying to get tickets.” One person called from Tennessee planning a family reunion in San Jose. \u003ccite>(Courtesy Vietnamese Tet Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music will be different, too. More than 40 years after the fall of Saigon sent a surge of refugees to San Jose, a new generation of Vietnamese-Americans is taking over organizing community events, and they are changing things up \u003cem>just a bit\u003c/em>.\u003c/p>\n\u003cp>As 21-year-old Vy explains, “Sometimes when you have performance that are more geared to the older generation, they’ll drag the children along, but that doesn’t mean the children will enjoy it.”\u003c/p>\n\u003cp>While there will be plenty of the classic ballad singers her parents and grandparents love, Vy is much more excited about younger performers they’ve managed to line up, like Mai Tiến Dũng.\u003c/p>\n\u003cp>https://youtu.be/xpHBKn0-lGU?t=2m10s\u003c/p>\n\u003cp>“He sings very upbeat music. He’s very good looking,” Vy says. “He’s a fantastic performer that will bring in the younger generations.”\u003c/p>\n\u003cp>On a more classical note, the El Camino Youth Symphony is celebrating the Lunar New Year by hosting Juilliard alum Gwhyneth Chen, who will perform the \u003cem>\u003ca href=\"http://ecys.site-ym.com/events/EventDetails.aspx?id=667235\" target=\"_blank\" rel=\"noopener noreferrer\">Yellow River Piano Concerto\u003c/a> \u003c/em>on Feb. 6\u003cem>. \u003c/em>And Stanford is holding a \u003cem>\u003ca href=\"http://panasianmusicfestival.stanford.edu/2016/\" target=\"_blank\" rel=\"noopener noreferrer\">Celebration of Asia\u003c/a>\u003c/em>, which will consist of three concerts featuring local musicians from Iran, Azerbaijan, Uzbekistan, Vietnam, and Japan, as well as the Forbidden City Chamber Orchestra from China.\u003c/p>\n\u003cp>[contextly_sidebar id=”qlDUMgqihGfxyQHb8WspCixmDvLnPmVu”]\u003c/p>\n\u003cp>On Feb. 28, \u003ca href=\"http://www.hakone.com/lunar-new-year-festival.html\" target=\"_blank\" rel=\"noopener noreferrer\">Hakone Estate and Gardens\u003c/a> hosts a celebration that features, among other traditional activities, a children’s parade. Last but not least, the San Jose Center for the Performing Arts will host \u003ca href=\"http://sf.cpaasv.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Spring Festival Silicon Valley\u003c/a> on Mar. 5. Like the concerts at Stanford, this festival will have a Pan-Asian flavor, featuring Chinese, Indian, Tajikistan, Dai, Tibetan, and Korean music and dance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, no article about Lunar New Year celebrations in the Bay Area would be complete without paying proper respect to the granddaddy of celebrations in San Francisco, which dates back to the 1860s. Many of the people I talked to intend to make a pilgrimage north on Feb. 20. If you can’t be there physically, you can tune in to watch it on \u003ca href=\"http://www.ktvu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KTVU Fox 2\u003c/a> or \u003ca href=\"http://www.ktsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KTSF Channel 26\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Lunar New Year hits on Monday and with more than half a million ethnic Chinese living in the Bay Area, it’s a big deal here.",
"status": "publish",
"parent": 0,
"modified": 1726788203,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 1049
},
"headData": {
"title": "The Other Big Party: How Silicon Valley Celebrates Lunar New Year | KQED",
"description": "Lunar New Year hits on Monday and with more than half a million ethnic Chinese living in the Bay Area, it’s a big deal here.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Other Big Party: How Silicon Valley Celebrates Lunar New Year",
"datePublished": "2016-02-05T12:00:59-08:00",
"dateModified": "2024-09-19T16:23:23-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "465738431",
"excludeFromSiteSearch": "Include",
"path": "/arts/11300926/the-other-big-party-how-the-south-bay-celebrates-lunar-new-year",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lunar New Year hits on Monday and with \u003ca href=\"http://factfinder.census.gov/faces/tableservices/jsf/pages/productview.xhtml\" target=\"_blank\" rel=\"noopener noreferrer\">more than half a million ethnic Chinese\u003c/a> living in the Bay Area, it’s a big deal here. It’s a big deal for many Asian cultures, but the huge influx immigrants from China to work in Silicon Valley in recent years has stimulated the region’s excitement around this holiday season.\u003c/p>\n\u003cp>Traditionally, festivities begin the day before the New Year, a date decided by the Chinese lunar calendar — which is why it feels like the start varies year to year — and continues on for two weeks.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='’166′'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/245606170″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/245606170″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But for Bay Area families, there’s an extra kickoff festivity this year: the Super Bowl. The timing is such it’s possible to tune in to the big game Sunday afternoon, and then switch over afterwards to the \u003ca href=\"https://www.youtube.com/channel/UCo3T0jF2PAD_KxqWiruqcDg\" target=\"_blank\" rel=\"noopener noreferrer\">gala broadcast\u003c/a> from mainland China, joining well over a billion viewers around the world. (Just a few more than \u003ca href=\"http://money.cnn.com/2015/02/02/media/super-bowl-ratings/\" target=\"_blank\" rel=\"noopener noreferrer\">watch the Super Bowl\u003c/a>.)\u003c/p>\n\u003cp>After the gala comes a plethora of festivals, which are happening all over the South Bay. New to the celebrations is the \u003ca href=\"http://pa-cpc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Palo Alto Chinese Parents’ Club,\u003c/a> which is co-hosting its first ever Chinese New Year Fair. Like most other fairs, it will include lion dances, martial arts demonstrations, arts and crafts seminars for the kids, and traditional foods like dumplings.\u003c/p>\n\u003cfigure id=\"attachment_11301763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11301763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-800x379.jpg\" alt=\"The start of a new tradition?\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-400x190.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut-960x455.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18326_Palo-Alto-Fair-qut.jpg 964w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The start of a new tradition? \u003ccite>(Courtesy Palo Alto Chinese Parents’ Club)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This event was designed as a community building event. It’s a platform for the Chinese community and greater community to connect,” says Palo Alto Chinese Parents’ Club co-founder Debra Cen, who helped start the club to help new immigrants integrate with Palo Alto’s community, as well as extend a welcoming hand to those unfamiliar with Chinese culture.\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>The money raised from the fair will be donated to the local school district. That, combined with the goal of the fair, is why Cen and her fellow club members are hoping the city of Palo Alto co-sponsors their New Year festivals in years to come.\u003c/p>\n\u003cp>Other Bay Area cities like \u003ca href=\"http://www.redwoodcity.org/residents/redwood-city-events/cultural/lunar-new-year\" target=\"_blank\" rel=\"noopener noreferrer\">Redwood City\u003c/a> already do. As a matter of fact, Redwood City Councilman Jeff Gee not only organizes that local festival — this year it’s on Feb. 27 — he’s also the official photographer.\u003c/p>\n\u003cfigure id=\"attachment_11301762\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11301762 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-400x600.jpg\" alt=\"A toddler can't help but reach out to check out this lion at a recent Redwood City's Lunar New Year Celebration.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18323_130223-RWC-LNY-35.JPG-qut-960x1440.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">A toddler can’t help but reach out to check out this lion at a recent Redwood City’s Lunar New Year Celebration. \u003ccite>(Courtesy Jeff Gee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’ll probably have 3-5,000 people from all over the Bay Area. It’s just grown every single year. It’s been pretty amazing,” Gee says.\u003c/p>\n\u003cp>Lunar New Year is also a big deal for the Vietnamese, and Ha Vy, who helps organize the \u003ca href=\"http://www.tetvietnamsj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnam Tet Festival 2016\u003c/a> in San Jose, says she expects 20,000 people to turn up at the Santa Clara County Fairgrounds Feb. 13 & 14. As with Chinese New Year, you can expect to see lion dances, and martial arts demonstrations, but the food will be decidedly Vietnamese: bbq, egg rolls, spring rolls, bánh mì, and the like.\u003c/p>\n\u003cp>“Every family has a different way of doing it, but essentially, they all try to come together and spend the holiday together. Like Thanksgiving. It’s the same concept,” Vy says.\u003c/p>\n\u003cfigure id=\"attachment_11301767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11301767\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-800x600.jpg\" alt=\"Vietnamese Tet Festival aims to attract a broad audience. Organizer Ha Thy says “We have some people that have been calling from So Cal trying to get tickets.” One person called from Tennessee planning a family reunion in San Jose.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18327_VTF-2016-Flyer-Front-qut-960x721.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vietnamese Tet Festival aims to attract a broad audience. Organizer Ha Vy says “We have some people that have been calling from So Cal trying to get tickets.” One person called from Tennessee planning a family reunion in San Jose. \u003ccite>(Courtesy Vietnamese Tet Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music will be different, too. More than 40 years after the fall of Saigon sent a surge of refugees to San Jose, a new generation of Vietnamese-Americans is taking over organizing community events, and they are changing things up \u003cem>just a bit\u003c/em>.\u003c/p>\n\u003cp>As 21-year-old Vy explains, “Sometimes when you have performance that are more geared to the older generation, they’ll drag the children along, but that doesn’t mean the children will enjoy it.”\u003c/p>\n\u003cp>While there will be plenty of the classic ballad singers her parents and grandparents love, Vy is much more excited about younger performers they’ve managed to line up, like Mai Tiến Dũng.\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/xpHBKn0-lGU'\n title='//www.youtube.com/embed/xpHBKn0-lGU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He sings very upbeat music. He’s very good looking,” Vy says. “He’s a fantastic performer that will bring in the younger generations.”\u003c/p>\n\u003cp>On a more classical note, the El Camino Youth Symphony is celebrating the Lunar New Year by hosting Juilliard alum Gwhyneth Chen, who will perform the \u003cem>\u003ca href=\"http://ecys.site-ym.com/events/EventDetails.aspx?id=667235\" target=\"_blank\" rel=\"noopener noreferrer\">Yellow River Piano Concerto\u003c/a> \u003c/em>on Feb. 6\u003cem>. \u003c/em>And Stanford is holding a \u003cem>\u003ca href=\"http://panasianmusicfestival.stanford.edu/2016/\" target=\"_blank\" rel=\"noopener noreferrer\">Celebration of Asia\u003c/a>\u003c/em>, which will consist of three concerts featuring local musicians from Iran, Azerbaijan, Uzbekistan, Vietnam, and Japan, as well as the Forbidden City Chamber Orchestra from China.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On Feb. 28, \u003ca href=\"http://www.hakone.com/lunar-new-year-festival.html\" target=\"_blank\" rel=\"noopener noreferrer\">Hakone Estate and Gardens\u003c/a> hosts a celebration that features, among other traditional activities, a children’s parade. Last but not least, the San Jose Center for the Performing Arts will host \u003ca href=\"http://sf.cpaasv.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Spring Festival Silicon Valley\u003c/a> on Mar. 5. Like the concerts at Stanford, this festival will have a Pan-Asian flavor, featuring Chinese, Indian, Tajikistan, Dai, Tibetan, and Korean music and dance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, no article about Lunar New Year celebrations in the Bay Area would be complete without paying proper respect to the granddaddy of celebrations in San Francisco, which dates back to the 1860s. Many of the people I talked to intend to make a pilgrimage north on Feb. 20. If you can’t be there physically, you can tune in to watch it on \u003ca href=\"http://www.ktvu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KTVU Fox 2\u003c/a> or \u003ca href=\"http://www.ktsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KTSF Channel 26\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11300926/the-other-big-party-how-the-south-bay-celebrates-lunar-new-year",
"authors": [
"251"
],
"categories": [
"arts_966",
"arts_235"
],
"tags": [
"arts_1310",
"arts_1037",
"arts_13165",
"arts_1118",
"arts_1006",
"arts_13164",
"arts_596",
"arts_4642"
],
"featImg": "arts_11301760",
"label": "arts"
},
"arts_11295559": {
"type": "posts",
"id": "arts_11295559",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11295559",
"score": null,
"sort": [
1454641221000
]
},
"guestAuthors": [],
"slug": "video-misty-copelands-rise-to-fame-inspires-bay-area-ballet-commmunity",
"title": "VIDEO: Misty Copeland's Rise to Fame Inspires Bay Area Ballet Community",
"publishDate": 1454641221,
"format": "video",
"headTitle": "VIDEO: Misty Copeland’s Rise to Fame Inspires Bay Area Ballet Community | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>From rough beginnings in San Pedro, CA\u003cstrong> \u003c/strong>to dancing center stage in New York, Misty Copeland’s rise to fame reads just like the plot of a fairy tale ballet. Nelson George’s documentary \u003ca href=\"http://www.pbs.org/independentlens/films/ballerinas-tale/\" target=\"_blank\" rel=\"noopener\">\u003ci>A Ballerina’s Tale\u003c/i>\u003c/a>, which premieres Feb. 8 on PBS, follows Copeland’s climb up the ladder to become \u003ca href=\"http://www.nytimes.com/2015/07/01/arts/dance/misty-copeland-is-promoted-to-principal-dancer-at-american-ballet-theater.html\" target=\"_blank\" rel=\"noopener\">the first African American\u003c/a> female principal in the entire 75-year history of the prestigious American Ballet Theatre (ABT).\u003c/p>\n\u003cp>The dancer has been very vocal about her status as a lone African-American principal in a company of 80 dancers.\u003c/p>\n\u003cp>“I felt alone in a world that had become my home,” Copeland says in the documentary, which chronicles her recovery from a career-threatening injury after her lead performance in Igor Stravinsky’s \u003cem>Firebird\u003c/em> to her triumphant return to the ABT stage. “I think that people think that sometimes I focus too much on the fact that I’m a black dancer. I’ve heard it from former principal dancers and major ballet companies who complain about my presence and my voice.”\u003c/p>\n\u003cfigure id=\"attachment_11301271\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11301271\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/ballerinas_tale-02-press-800x450.jpg\" alt=\"Misty Copeland warming up for performance in Italy for Roberto Bolle & Friends. July 2014.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ballerinas_tale-02-press.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ballerinas_tale-02-press-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ballerinas_tale-02-press-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland warming up for performance in Italy for\u003cbr>Roberto Bolle & Friends. July 2014. \u003ccite>(Photo: Courtesy Urban Romances, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Copeland previously studied at the \u003ca href=\"https://school.sfballet.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet School\u003c/a> and serves as an inspiration to \u003ca href=\"http://ww2.kqed.org/arts/2015/07/16/bay-area-ballerina-comes-of-age/\">young dancers in the Bay Area\u003c/a>.\u003c/p>\n\u003cp>“I think that Misty Copeland is an extraordinary artist — not because she is black, but because she is gifted and has worked very hard to refine her craft,” says Joanna Haigood, artistic director of \u003ca href=\"http://www.zaccho.org/\" target=\"_blank\" rel=\"noopener\">Zaccho Dance Theatre\u003c/a> based in San Francisco’s Bayview Hunters Point neighborhood. “But the most important point for me is that Misty Copeland’s story exposes how much work we need to do to diversify the field.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bay Area Ballet companies such as \u003ca href=\"https://www.linesballet.org/\" target=\"_blank\" rel=\"noopener\">Alonzo King LINES Ballet\u003c/a>, \u003ca href=\"http://www.oaklandballet.org/\">Oakland Ballet Company\u003c/a> and \u003ca href=\"http://siliconvalleyballet.org/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Ballet\u003c/a> include members from different racial backgrounds in their lineups. But diversity is still a larger issue in the ballet community, says Daphne Lee, a former member of the Oakland Ballet Company.\u003c/p>\n\u003cp>“I think many directors now want to diversify the company to reflect where they are, but many sponsors and donors are still against that because they don’t want to mess with tradition,” says Lee. “Misty shed light on the issue for people who are not of color. She’s the platform for our generation.”\u003c/p>\n\u003cp>Maurya Kerr, founder of dance company \u003ca href=\"http://www.tinypistol.com/home.html\" target=\"_blank\" rel=\"noopener\">tiny pistol\u003c/a> and previous member of Alonzo King LINES Ballet, says she believes Copeland provides an exceptional model for aspiring dancers of color, but hopes discussion strays away from the “othering” of Copeland’s race.\u003c/p>\n\u003cp>“I long for Copeland the freedom to simply focus on her craft and not be a self-appointed or publicly-anointed spokesperson for blackness,” Kerr says.\u003c/p>\n\u003cp>\u003ci>A Ballerina’s Tale, directed by Nelson George, airs Monday, Feb. 8, at 10 pm on KQED.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"blocks": [],
"excerpt": "A new PBS documentary about the famed African-American dancer resonates locally",
"status": "publish",
"parent": 0,
"modified": 1726771276,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 527
},
"headData": {
"title": "VIDEO: Misty Copeland's Rise to Fame Inspires Bay Area Ballet Community | KQED",
"description": "A new PBS documentary about the famed African-American dancer resonates locally",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "VIDEO: Misty Copeland's Rise to Fame Inspires Bay Area Ballet Community",
"datePublished": "2016-02-04T19:00:21-08:00",
"dateModified": "2024-09-19T11:41:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"videoEmbed": "https://www.youtube.com/watch?v=D4bO84S5Ygo",
"sticky": false,
"nprStoryId": "465650736",
"path": "/arts/11295559/video-misty-copelands-rise-to-fame-inspires-bay-area-ballet-commmunity",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From rough beginnings in San Pedro, CA\u003cstrong> \u003c/strong>to dancing center stage in New York, Misty Copeland’s rise to fame reads just like the plot of a fairy tale ballet. Nelson George’s documentary \u003ca href=\"http://www.pbs.org/independentlens/films/ballerinas-tale/\" target=\"_blank\" rel=\"noopener\">\u003ci>A Ballerina’s Tale\u003c/i>\u003c/a>, which premieres Feb. 8 on PBS, follows Copeland’s climb up the ladder to become \u003ca href=\"http://www.nytimes.com/2015/07/01/arts/dance/misty-copeland-is-promoted-to-principal-dancer-at-american-ballet-theater.html\" target=\"_blank\" rel=\"noopener\">the first African American\u003c/a> female principal in the entire 75-year history of the prestigious American Ballet Theatre (ABT).\u003c/p>\n\u003cp>The dancer has been very vocal about her status as a lone African-American principal in a company of 80 dancers.\u003c/p>\n\u003cp>“I felt alone in a world that had become my home,” Copeland says in the documentary, which chronicles her recovery from a career-threatening injury after her lead performance in Igor Stravinsky’s \u003cem>Firebird\u003c/em> to her triumphant return to the ABT stage. “I think that people think that sometimes I focus too much on the fact that I’m a black dancer. I’ve heard it from former principal dancers and major ballet companies who complain about my presence and my voice.”\u003c/p>\n\u003cfigure id=\"attachment_11301271\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11301271\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/ballerinas_tale-02-press-800x450.jpg\" alt=\"Misty Copeland warming up for performance in Italy for Roberto Bolle & Friends. July 2014.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ballerinas_tale-02-press.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ballerinas_tale-02-press-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/ballerinas_tale-02-press-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Misty Copeland warming up for performance in Italy for\u003cbr>Roberto Bolle & Friends. July 2014. \u003ccite>(Photo: Courtesy Urban Romances, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Copeland previously studied at the \u003ca href=\"https://school.sfballet.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet School\u003c/a> and serves as an inspiration to \u003ca href=\"http://ww2.kqed.org/arts/2015/07/16/bay-area-ballerina-comes-of-age/\">young dancers in the Bay Area\u003c/a>.\u003c/p>\n\u003cp>“I think that Misty Copeland is an extraordinary artist — not because she is black, but because she is gifted and has worked very hard to refine her craft,” says Joanna Haigood, artistic director of \u003ca href=\"http://www.zaccho.org/\" target=\"_blank\" rel=\"noopener\">Zaccho Dance Theatre\u003c/a> based in San Francisco’s Bayview Hunters Point neighborhood. “But the most important point for me is that Misty Copeland’s story exposes how much work we need to do to diversify the field.”\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>Bay Area Ballet companies such as \u003ca href=\"https://www.linesballet.org/\" target=\"_blank\" rel=\"noopener\">Alonzo King LINES Ballet\u003c/a>, \u003ca href=\"http://www.oaklandballet.org/\">Oakland Ballet Company\u003c/a> and \u003ca href=\"http://siliconvalleyballet.org/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Ballet\u003c/a> include members from different racial backgrounds in their lineups. But diversity is still a larger issue in the ballet community, says Daphne Lee, a former member of the Oakland Ballet Company.\u003c/p>\n\u003cp>“I think many directors now want to diversify the company to reflect where they are, but many sponsors and donors are still against that because they don’t want to mess with tradition,” says Lee. “Misty shed light on the issue for people who are not of color. She’s the platform for our generation.”\u003c/p>\n\u003cp>Maurya Kerr, founder of dance company \u003ca href=\"http://www.tinypistol.com/home.html\" target=\"_blank\" rel=\"noopener\">tiny pistol\u003c/a> and previous member of Alonzo King LINES Ballet, says she believes Copeland provides an exceptional model for aspiring dancers of color, but hopes discussion strays away from the “othering” of Copeland’s race.\u003c/p>\n\u003cp>“I long for Copeland the freedom to simply focus on her craft and not be a self-appointed or publicly-anointed spokesperson for blackness,” Kerr says.\u003c/p>\n\u003cp>\u003ci>A Ballerina’s Tale, directed by Nelson George, airs Monday, Feb. 8, at 10 pm on KQED.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11295559/video-misty-copelands-rise-to-fame-inspires-bay-area-ballet-commmunity",
"authors": [
"11208"
],
"categories": [
"arts_966",
"arts_235",
"arts_990"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1007"
],
"featImg": "arts_11296231",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=dance": {
"isFetching": false,
"latestQuery": {
"from": 384,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 462,
"relation": "eq"
},
"items": [
"arts_11369973",
"arts_11370944",
"arts_11364611",
"arts_11359048",
"arts_11359528",
"pop_20675",
"arts_11347526",
"arts_11344489",
"arts_11316687",
"arts_11296345",
"arts_11300926",
"arts_11295559"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_dance": {
"isLoading": true
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_626": {
"type": "terms",
"id": "arts_626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 634,
"slug": "the-do-list-featured",
"isLoading": false,
"link": "/arts/tag/the-do-list-featured"
},
"arts_1254": {
"type": "terms",
"id": "arts_1254",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1254",
"found": true
},
"relationships": {},
"featImg": null,
"name": "exclude",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "exclude Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1266,
"slug": "exclude",
"isLoading": false,
"link": "/arts/tag/exclude"
},
"arts_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"pop_4": {
"type": "terms",
"id": "pop_4",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "4",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4,
"slug": "music",
"isLoading": false,
"link": "/pop/category/music"
},
"pop_605": {
"type": "terms",
"id": "pop_605",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "605",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Justin Bieber",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Justin Bieber Archives | KQED Arts",
"ogDescription": null
},
"ttid": 606,
"slug": "justin-bieber",
"isLoading": false,
"link": "/pop/tag/justin-bieber"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_76": {
"type": "terms",
"id": "arts_76",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "76",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fashion/Design",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fashion/Design Archives | KQED Arts",
"ogDescription": null
},
"ttid": 77,
"slug": "design",
"isLoading": false,
"link": "/arts/category/design"
},
"arts_1310": {
"type": "terms",
"id": "arts_1310",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1310",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Art in the Open",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Art in the Open Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1322,
"slug": "art-in-the-open",
"isLoading": false,
"link": "/arts/tag/art-in-the-open"
},
"arts_1037": {
"type": "terms",
"id": "arts_1037",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1037",
"found": true
},
"relationships": {},
"featImg": null,
"name": "audio",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "audio Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1054,
"slug": "audio",
"isLoading": false,
"link": "/arts/tag/audio"
},
"arts_13165": {
"type": "terms",
"id": "arts_13165",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13165",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Chinese New Year",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Chinese New Year Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13177,
"slug": "chinese-new-year",
"isLoading": false,
"link": "/arts/tag/chinese-new-year"
},
"arts_13164": {
"type": "terms",
"id": "arts_13164",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13164",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Lunar New Year",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Lunar New Year Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13176,
"slug": "lunar-new-year",
"isLoading": false,
"link": "/arts/tag/lunar-new-year"
},
"arts_4642": {
"type": "terms",
"id": "arts_4642",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4642",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Rachael Myrow",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Rachael Myrow Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4654,
"slug": "rachael-myrow",
"isLoading": false,
"link": "/arts/tag/rachael-myrow"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_1007": {
"type": "terms",
"id": "arts_1007",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1007",
"found": true
},
"relationships": {},
"featImg": null,
"name": "video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1024,
"slug": "video",
"isLoading": false,
"link": "/arts/tag/video"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
