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_13959080": {
"type": "attachments",
"id": "arts_13959080",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13959080",
"found": true
},
"title": "HitchcockStewart_COVER",
"publishDate": 1717434327,
"status": "inherit",
"parent": 13958891,
"modified": 1717434810,
"caption": "A photograph of Alfred Hitchcock and Jimmy Stewart in the Mission Dolores cemetery during the filming of 'Vertigo.'",
"credit": "Bob Klein/San Francisco News; Courtesy the San Francisco History Center",
"altTag": "Black-and-white photo of two men looking at book with big spotlights behind them",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/HitchcockStewart_COVER-800x793.jpg",
"width": 800,
"height": 793,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/HitchcockStewart_COVER-1020x1011.jpg",
"width": 1020,
"height": 1011,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/HitchcockStewart_COVER-160x159.jpg",
"width": 160,
"height": 159,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/HitchcockStewart_COVER-768x761.jpg",
"width": 768,
"height": 761,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/HitchcockStewart_COVER-1536x1522.jpg",
"width": 1536,
"height": 1522,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/HitchcockStewart_COVER-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/HitchcockStewart_COVER-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/HitchcockStewart_COVER-1920x1903.jpg",
"width": 1920,
"height": 1903,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/HitchcockStewart_COVER.jpg",
"width": 2000,
"height": 1982
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13958534": {
"type": "attachments",
"id": "arts_13958534",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13958534",
"found": true
},
"title": "An advertisement for Pettit's Eye Salve, circa 1885.",
"publishDate": 1716594077,
"status": "inherit",
"parent": 13958468,
"modified": 1716594164,
"caption": "An advertisement for Pettit's Eye Salve, circa 1885.",
"credit": "Courtesy of the Museum of the Eye",
"altTag": "A Victorian illustration of a small boy grinning and holding one of his eyelids closed with his forefinger.",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumexhibit3-160x103.jpg",
"width": 160,
"height": 103,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumexhibit3.jpg",
"width": 446,
"height": 287
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13958497": {
"type": "attachments",
"id": "arts_13958497",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13958497",
"found": true
},
"title": "rchesse_drawing_2000",
"publishDate": 1716570089,
"status": "inherit",
"parent": 13958493,
"modified": 1716570143,
"caption": "Ralph Chessé drawing, year unknown.",
"credit": "Courtesy of the Chessé family",
"altTag": "Black and white photo of man in glasses drawing lines on a canvas",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-800x641.jpg",
"width": 800,
"height": 641,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-1020x818.jpg",
"width": 1020,
"height": 818,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-160x128.jpg",
"width": 160,
"height": 128,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-768x616.jpg",
"width": 768,
"height": 616,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-1536x1231.jpg",
"width": 1536,
"height": 1231,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-1920x1539.jpg",
"width": 1920,
"height": 1539,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000.jpg",
"width": 2000,
"height": 1603
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13955067": {
"type": "attachments",
"id": "arts_13955067",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13955067",
"found": true
},
"parent": 13955066,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/April-2024-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/April-2024-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/April-2024-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/April-2024.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/April-2024-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/April-2024-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/April-2024-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/April-2024-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1711791057,
"modified": 1711791236,
"caption": "(L) Phyllis Lyon and (R) Del Martin at home in San Francisco in July 1972.",
"description": null,
"title": "(L) Phyllis Lyon and (R) Del Martin at home in San Francisco in July 1972.",
"credit": "Clem Albers/ San Francisco Chronicle via Getty Images",
"status": "inherit",
"altTag": "A white bespectacled woman wearing a checked dress smiles warmly at another white woman as they sit close together on a couch. A wall lined with books is behind them.",
"isLoading": false,
"fetchFailed": false
},
"arts_13957664": {
"type": "attachments",
"id": "arts_13957664",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13957664",
"found": true
},
"parent": 13957514,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-10-at-2.40.57-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-10-at-2.40.57-PM-160x93.png",
"width": 160,
"mimeType": "image/png",
"height": 93
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-10-at-2.40.57-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-10-at-2.40.57-PM.png",
"width": 1584,
"height": 916
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-10-at-2.40.57-PM-1020x590.png",
"width": 1020,
"mimeType": "image/png",
"height": 590
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-10-at-2.40.57-PM-1536x888.png",
"width": 1536,
"mimeType": "image/png",
"height": 888
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-10-at-2.40.57-PM-800x463.png",
"width": 800,
"mimeType": "image/png",
"height": 463
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-10-at-2.40.57-PM-768x444.png",
"width": 768,
"mimeType": "image/png",
"height": 444
}
},
"publishDate": 1715377288,
"modified": 1715377334,
"caption": "A rendition of the airship seen in the skies above Sacramento, as illustrated in ‘The San Francisco Call and Post’ on Nov. 29, 1896.",
"description": null,
"title": "A rendition of the airship seen in the skies above Sacramento, as illustrated in ‘The San Francisco Call and Post’ on Nov. 29, 1896.",
"credit": "The San Francisco Call and Post",
"status": "inherit",
"altTag": "A Victorian illustration of two men watching an airship with wings and spotlights flying near the top of the Capitol building.",
"isLoading": false,
"fetchFailed": false
},
"arts_13956207": {
"type": "attachments",
"id": "arts_13956207",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13956207",
"found": true
},
"parent": 13956202,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6472-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6472-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6472-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6472.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6472-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6472-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6472-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6472-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1713480198,
"modified": 1713482372,
"caption": "An installation view of 'On Tap: Sonoma County Hops & The Beer Revolution.' The clashes between underpaid migrant laborers and the hop-growing industry in Sonoma County resulted in a mechanized picking machine — and a notorious tarring and feathering incident.",
"description": null,
"title": "IMG_6472",
"credit": "Gabe Meline/KQED",
"status": "inherit",
"altTag": "A rusty scale sits against a green background, next to a sign that reads \"Hop Pickers Wanted\"",
"isLoading": false,
"fetchFailed": false
},
"arts_13954767": {
"type": "attachments",
"id": "arts_13954767",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13954767",
"found": true
},
"parent": 13954766,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/418799190_241307629011087_1178658261652047605_n-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/418799190_241307629011087_1178658261652047605_n-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/418799190_241307629011087_1178658261652047605_n-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/418799190_241307629011087_1178658261652047605_n.jpg",
"width": 1080,
"height": 717
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/418799190_241307629011087_1178658261652047605_n-1020x677.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 677
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/418799190_241307629011087_1178658261652047605_n-800x531.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 531
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/418799190_241307629011087_1178658261652047605_n-768x510.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 510
}
},
"publishDate": 1711487875,
"modified": 1711488129,
"caption": "A photograph by Al Barna of 'The Palace' sign on the roof of the Palace Hotel, before work began to replace the neon with LED lighting.",
"description": null,
"title": "418799190_241307629011087_1178658261652047605_n",
"credit": "Al Barna/SF Neon",
"status": "inherit",
"altTag": "White illuminated letters of 'THE PALACE' on a rooftop",
"isLoading": false,
"fetchFailed": false
},
"arts_13953961": {
"type": "attachments",
"id": "arts_13953961",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13953961",
"found": true
},
"parent": 13953890,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp25.4502-1000x576.jpg",
"width": 1000,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp25.4502-160x109.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 109
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp25.4502-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp25.4502.jpg",
"width": 1000,
"height": 683
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp25.4502-800x546.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 546
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp25.4502-768x525.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 525
}
},
"publishDate": 1710287771,
"modified": 1710356627,
"caption": "The St. Francis Hotel and Union Square as it looked in 1962.",
"description": null,
"title": "The St. Francis Hotel and Union Square as it looked in 1962.",
"credit": "OpenSFHistory/wnp25.4502",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13953252": {
"type": "attachments",
"id": "arts_13953252",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13953252",
"found": true
},
"parent": 13953248,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-29-at-5.20.14-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-29-at-5.20.14-PM-160x113.png",
"width": 160,
"mimeType": "image/png",
"height": 113
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-29-at-5.20.14-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-29-at-5.20.14-PM.png",
"width": 1770,
"height": 1254
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-29-at-5.20.14-PM-1020x723.png",
"width": 1020,
"mimeType": "image/png",
"height": 723
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-29-at-5.20.14-PM-1536x1088.png",
"width": 1536,
"mimeType": "image/png",
"height": 1088
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-29-at-5.20.14-PM-800x567.png",
"width": 800,
"mimeType": "image/png",
"height": 567
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-29-at-5.20.14-PM-768x544.png",
"width": 768,
"mimeType": "image/png",
"height": 544
}
},
"publishDate": 1709256179,
"modified": 1709256251,
"caption": "Carol Doda poses outside the Condor in the 1970s.",
"description": null,
"title": "Carol Doda poses outside the Condor in the 1970s.",
"credit": "Tim Boxer/ Getty Images",
"status": "inherit",
"altTag": "A beautiful blond woman wearing a white coat, miniskirt and boots under a marquee advertising Carol Doda at the Condor.",
"isLoading": false,
"fetchFailed": false
},
"arts_13954122": {
"type": "attachments",
"id": "arts_13954122",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13954122",
"found": true
},
"parent": 13954121,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal-1-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal-1-scaled.jpg",
"width": 2560,
"height": 1708
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal-1-2048x1367.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1367
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal-1-1020x681.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 681
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal-1-1536x1025.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1025
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal-1-1920x1281.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1281
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal-1-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal-1-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1710447781,
"modified": 1710456763,
"caption": "Edward Meneses Cablings (center) leads the cast of 'Larry the Musical' as Larry Itliong.",
"description": null,
"title": "Larry the Musical_Rehearsal-1",
"credit": "Joseph Gabriel Ilustrisimo",
"status": "inherit",
"altTag": "A man stands in the middle of circle of people seated in folding charges on a stage.",
"isLoading": false,
"fetchFailed": false
},
"arts_13954157": {
"type": "attachments",
"id": "arts_13954157",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13954157",
"found": true
},
"parent": 13954052,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.11.43-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.11.43-PM-160x98.png",
"width": 160,
"mimeType": "image/png",
"height": 98
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.11.43-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.11.43-PM.png",
"width": 1806,
"height": 1104
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.11.43-PM-1020x624.png",
"width": 1020,
"mimeType": "image/png",
"height": 624
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.11.43-PM-1536x939.png",
"width": 1536,
"mimeType": "image/png",
"height": 939
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.11.43-PM-800x489.png",
"width": 800,
"mimeType": "image/png",
"height": 489
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.11.43-PM-768x469.png",
"width": 768,
"mimeType": "image/png",
"height": 469
}
},
"publishDate": 1710457951,
"modified": 1710458017,
"caption": "Lili Taylor as Mary Todd Lincoln and Hamish Linklater as Abraham Lincoln in ‘Manhunt.’",
"description": null,
"title": "Lili Taylor as Mary Todd Lincoln and Hamish Linklater as Abraham Lincoln in ‘Manhunt.’",
"credit": "Apple TV+",
"status": "inherit",
"altTag": "Actors playing President Lincoln and his wife sit in a theater box, an American flag draped in front of them.",
"isLoading": false,
"fetchFailed": false
},
"arts_13954105": {
"type": "attachments",
"id": "arts_13954105",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13954105",
"found": true
},
"parent": 13954104,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-11.48.26-AM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-11.48.26-AM-160x97.png",
"width": 160,
"mimeType": "image/png",
"height": 97
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-11.48.26-AM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-11.48.26-AM.png",
"width": 1970,
"height": 1192
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-11.48.26-AM-1020x617.png",
"width": 1020,
"mimeType": "image/png",
"height": 617
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-11.48.26-AM-1536x929.png",
"width": 1536,
"mimeType": "image/png",
"height": 929
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-11.48.26-AM-1920x1162.png",
"width": 1920,
"mimeType": "image/png",
"height": 1162
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-11.48.26-AM-800x484.png",
"width": 800,
"mimeType": "image/png",
"height": 484
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-11.48.26-AM-768x465.png",
"width": 768,
"mimeType": "image/png",
"height": 465
}
},
"publishDate": 1710442121,
"modified": 1710442248,
"caption": "Sir Anthony Hopkins as Sir Nicholas Winton in ‘One Life.’",
"description": null,
"title": "Sir Anthony Hopkins as Sir Nicholas Winton in ‘One Life.’",
"credit": "Bleecker Street via AP",
"status": "inherit",
"altTag": "An elderly man with a receding white hairline sits in the front row of an audience wearing a suit and spectacles.",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13954104": {
"type": "authors",
"id": "byline_arts_13954104",
"meta": {
"override": true
},
"slug": "byline_arts_13954104",
"name": "Jocelyn Noveck, Associated Press",
"isLoading": false
},
"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"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"aproehl": {
"type": "authors",
"id": "11296",
"meta": {
"index": "authors_1716337520",
"id": "11296",
"found": true
},
"name": "Ariana Proehl",
"firstName": "Ariana",
"lastName": "Proehl",
"slug": "aproehl",
"email": "aproehl@KQED.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Culture Reporter, KQED",
"bio": "Ariana Proehl is a Culture Reporter and Host.",
"avatar": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g",
"twitter": "ArianaProehl",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": []
},
{
"site": "education",
"roles": []
},
{
"site": "forum",
"roles": []
}
],
"headData": {
"title": "Ariana Proehl | KQED",
"description": "Culture Reporter, KQED",
"ogImgSrc": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/aproehl"
}
},
"pagesReducer": {
"arts_category_history": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"score": 12.282726
},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"title": "History",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 12
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=history",
"seeMore": false,
"paginated": true,
"page": 12
}
},
{
"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_13958891": {
"type": "posts",
"id": "arts_13958891",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13958891",
"score": null,
"sort": [
1717442103000
]
},
"guestAuthors": [],
"slug": "film-talks-sfpl-san-francisco-jim-van-buskirk",
"title": "A Fresh Look at San Francisco’s Starring Hollywood Roles",
"publishDate": 1717442103,
"format": "standard",
"headTitle": "A Fresh Look at San Francisco’s Starring Hollywood Roles | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>San Francisco has long captured the imagination of filmmakers, who love shooting establishing shots of the Golden Gate Bridge almost as much as destroying it. For over a century, the city’s downtown skyline, distinctive neighborhoods and dramatic history have provided iconic backdrops for cinematic imaginings. \u003c/p>\n\u003cp>Local writer and historian (and former librarian) Jim Van Buskirk, co-author of the 2006 book \u003ci>Celluloid San Francisco: The Film Lover’s Guide to Bay Area Movie Locations\u003c/i>, knows this well. Now, in a series of lively Tuesday night talks in the San Francisco Public Library’s Koret Auditorium, he’ll share some of that knowledge, along with clips and still photographs related to movie-making in the Bay. \u003c/p>\n\u003cp>The program kicks off on June 4 with “\u003ca href=\"https://sfpl.org/events/2024/06/18/film-cinematic-san-francisco\">San Francisco on the Silver Screen\u003c/a>,” a broad survey of the region’s role in movies and television shows. Christina Moretta, photo curator of the library’s San Francisco History Center, worked with Van Buskirk to pull images from the \u003ca href=\"https://sfpl.org/locations/main-library/historical-photographs/photo-collections/san-francisco-news-call-bulletin\">\u003cem>San Francisco News-Call Bulletin\u003c/em> Photo Morgue\u003c/a>, a collection of over 2 million photographs donated to the library in the 1960s.\u003c/p>\n\u003cfigure id=\"attachment_13959081\" class=\"wp-caption aligncenter\" style=\"max-width: 1406px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp.jpg\" alt=\"Black-and-white image of man in old diving gear, back of photo with news clipping and writing\" width=\"1406\" height=\"1110\" class=\"size-full wp-image-13959081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp.jpg 1406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-1020x805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-768x606.jpg 768w\" sizes=\"(max-width: 1406px) 100vw, 1406px\">\u003cfigcaption class=\"wp-caption-text\">Photo of Kim Novak taken while filming ‘Vertigo’ in San Francisco, 1957. \u003ccite>(United Press Telephoto; Courtesy of San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We actually went through the photo morgue identifying all the movie stars and found original photographs of [them] on set here in San Francisco,” says Moretta. “For example, one is Alfred Hitchcock and James Stewart in the cemetery of Mission Dolores, with the lights in the background and them talking over a script.”\u003c/p>\n\u003cp>In addition to glimpses of behind-the-scenes action, the photographs tell a story of the studio publicity machine, Moretta notes: “For Bette Davis, they had like two cartons of photographs of her.” (Orson Welles? “Maybe five folders.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On June 11, Van Buskirk turns his focus to depictions of the 1906 earthquake and fire for “Hollywood Shakes San Francisco.” Alongside newsreels, the program includes clips from the silent film \u003ci>When the Earth Trembled\u003c/i> (1913), possibly the first drama to depict the disaster via early 20th-century special effects. In the ’30s, \u003ci>Frisco Jenny\u003c/i>, \u003ci>San Francisco\u003c/i> and \u003ci>The Sisters\u003c/i> all included the earthquake in their mix of political, romantic and musical drama, the devastation bringing characters together or temporarily forcing them apart. \u003c/p>\n\u003cp>A note here on the format of these Tuesday nights: Moretta implies that “talk” is a bit dry for what Van Buskirk has in store. “He does encourage audience participation and there’s kind of a camp element to it,” she says. (Van Buskirk has previously given presentations for San Francisco Neon on Market Street movie marquees and gay bar signs.)\u003c/p>\n\u003cfigure id=\"attachment_13959084\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000.jpg\" alt=\"Photo of man and woman looking up under the Golden Gate Bridge, verso to right with news clipping and writing\" width=\"2000\" height=\"1233\" class=\"size-full wp-image-13959084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1536x947.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1920x1184.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee J. Cobb and Jane Wyatt during filming of ‘The Man Who Cheated Himself,’ 1950. \u003ccite>(Call Bulletin; Courtesy of San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the final two events of the series, he’ll turn his attention to the Golden Gate Bridge and Alcatraz (June 18 and 25, respectively). The bridge isn’t just a recognizable backdrop, Van Buskirk argues, but a character in its own right — one that has withstood sea monsters, natural disasters and villains of all stripes, in movies like \u003ci>Superman\u003c/i> (1978), \u003ci>A View to a Kill\u003c/i> (1985) and \u003ci>Rise of the Planet of the Apes\u003c/i> (2011). \u003c/p>\n\u003cp>[aside postID='arts_13958881,arts_13957326']Alcatraz, rocky and removed, was depicted \u003ca href=\"https://en.wikipedia.org/wiki/Alcatraz_Island_(film)\">on film in 1937\u003c/a>, just three years after it opened as a federal prison. Its role shifted in film as it did in real life: in 1967 the by-then deserted site was the setting of an ambush in \u003ci>Point Blank\u003c/i>; a criminal organization hides out on the island in 1976’s \u003ci>The Enforcer\u003c/i>, the third \u003ci>Dirty Harry\u003c/i> film. Van Buskirk, of course, will not overlook \u003ci>The Rock\u003c/i>. \u003c/p>\n\u003cp>(For those seeking a deeper dive on any of the above, the library has compiled \u003ca href=\"https://sfpl.bibliocommons.com/list/share/379727478_sfpl_artmusiclibrarians/2539869619_cinematic_san_francisco\">a list of recommendations\u003c/a> for further reading, and all the titles discussed are available to library patrons via \u003ca href=\"https://www.kanopy.com/en\">Kanopy\u003c/a> or on DVD.)\u003c/p>\n\u003cp>Moretta says the talks, peppered throughout with short clips, are for anyone interested in film and learning more about San Francisco. “And then also for anyone who thinks they know everything,” she says. “I think everyone will have a discovery in the moment.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Jim Van Buskirk’s series of ‘\u003ca href=\"https://sfpl.org/events/2024/06/18/film-cinematic-san-francisco\">Film: Cinematic San Francisco\u003c/a>’ talks take place June 4, 11, 18 and 25 in the San Francisco Public Library’s Koret Auditorium (100 Larkin St.). All events begin at 6:00 p.m. and are free to attend.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "On Tuesday nights in June, Jim Van Buskirk mines the city’s celluloid history, with clips and stills galore. ",
"status": "publish",
"parent": 0,
"modified": 1726770927,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 784
},
"headData": {
"title": "A Fresh Look at San Francisco’s Starring Hollywood Roles | KQED",
"description": "On Tuesday nights in June, Jim Van Buskirk mines the city’s celluloid history, with clips and stills galore. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Fresh Look at San Francisco’s Starring Hollywood Roles",
"datePublished": "2024-06-03T12:15:03-07:00",
"dateModified": "2024-09-19T11:35:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13958891",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13958891/film-talks-sfpl-san-francisco-jim-van-buskirk",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco has long captured the imagination of filmmakers, who love shooting establishing shots of the Golden Gate Bridge almost as much as destroying it. For over a century, the city’s downtown skyline, distinctive neighborhoods and dramatic history have provided iconic backdrops for cinematic imaginings. \u003c/p>\n\u003cp>Local writer and historian (and former librarian) Jim Van Buskirk, co-author of the 2006 book \u003ci>Celluloid San Francisco: The Film Lover’s Guide to Bay Area Movie Locations\u003c/i>, knows this well. Now, in a series of lively Tuesday night talks in the San Francisco Public Library’s Koret Auditorium, he’ll share some of that knowledge, along with clips and still photographs related to movie-making in the Bay. \u003c/p>\n\u003cp>The program kicks off on June 4 with “\u003ca href=\"https://sfpl.org/events/2024/06/18/film-cinematic-san-francisco\">San Francisco on the Silver Screen\u003c/a>,” a broad survey of the region’s role in movies and television shows. Christina Moretta, photo curator of the library’s San Francisco History Center, worked with Van Buskirk to pull images from the \u003ca href=\"https://sfpl.org/locations/main-library/historical-photographs/photo-collections/san-francisco-news-call-bulletin\">\u003cem>San Francisco News-Call Bulletin\u003c/em> Photo Morgue\u003c/a>, a collection of over 2 million photographs donated to the library in the 1960s.\u003c/p>\n\u003cfigure id=\"attachment_13959081\" class=\"wp-caption aligncenter\" style=\"max-width: 1406px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp.jpg\" alt=\"Black-and-white image of man in old diving gear, back of photo with news clipping and writing\" width=\"1406\" height=\"1110\" class=\"size-full wp-image-13959081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp.jpg 1406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-1020x805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Novak_comp-768x606.jpg 768w\" sizes=\"(max-width: 1406px) 100vw, 1406px\">\u003cfigcaption class=\"wp-caption-text\">Photo of Kim Novak taken while filming ‘Vertigo’ in San Francisco, 1957. \u003ccite>(United Press Telephoto; Courtesy of San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We actually went through the photo morgue identifying all the movie stars and found original photographs of [them] on set here in San Francisco,” says Moretta. “For example, one is Alfred Hitchcock and James Stewart in the cemetery of Mission Dolores, with the lights in the background and them talking over a script.”\u003c/p>\n\u003cp>In addition to glimpses of behind-the-scenes action, the photographs tell a story of the studio publicity machine, Moretta notes: “For Bette Davis, they had like two cartons of photographs of her.” (Orson Welles? “Maybe five folders.”)\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>On June 11, Van Buskirk turns his focus to depictions of the 1906 earthquake and fire for “Hollywood Shakes San Francisco.” Alongside newsreels, the program includes clips from the silent film \u003ci>When the Earth Trembled\u003c/i> (1913), possibly the first drama to depict the disaster via early 20th-century special effects. In the ’30s, \u003ci>Frisco Jenny\u003c/i>, \u003ci>San Francisco\u003c/i> and \u003ci>The Sisters\u003c/i> all included the earthquake in their mix of political, romantic and musical drama, the devastation bringing characters together or temporarily forcing them apart. \u003c/p>\n\u003cp>A note here on the format of these Tuesday nights: Moretta implies that “talk” is a bit dry for what Van Buskirk has in store. “He does encourage audience participation and there’s kind of a camp element to it,” she says. (Van Buskirk has previously given presentations for San Francisco Neon on Market Street movie marquees and gay bar signs.)\u003c/p>\n\u003cfigure id=\"attachment_13959084\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000.jpg\" alt=\"Photo of man and woman looking up under the Golden Gate Bridge, verso to right with news clipping and writing\" width=\"2000\" height=\"1233\" class=\"size-full wp-image-13959084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1536x947.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Cobb_GGB_2000-1920x1184.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee J. Cobb and Jane Wyatt during filming of ‘The Man Who Cheated Himself,’ 1950. \u003ccite>(Call Bulletin; Courtesy of San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the final two events of the series, he’ll turn his attention to the Golden Gate Bridge and Alcatraz (June 18 and 25, respectively). The bridge isn’t just a recognizable backdrop, Van Buskirk argues, but a character in its own right — one that has withstood sea monsters, natural disasters and villains of all stripes, in movies like \u003ci>Superman\u003c/i> (1978), \u003ci>A View to a Kill\u003c/i> (1985) and \u003ci>Rise of the Planet of the Apes\u003c/i> (2011). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13958881,arts_13957326",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Alcatraz, rocky and removed, was depicted \u003ca href=\"https://en.wikipedia.org/wiki/Alcatraz_Island_(film)\">on film in 1937\u003c/a>, just three years after it opened as a federal prison. Its role shifted in film as it did in real life: in 1967 the by-then deserted site was the setting of an ambush in \u003ci>Point Blank\u003c/i>; a criminal organization hides out on the island in 1976’s \u003ci>The Enforcer\u003c/i>, the third \u003ci>Dirty Harry\u003c/i> film. Van Buskirk, of course, will not overlook \u003ci>The Rock\u003c/i>. \u003c/p>\n\u003cp>(For those seeking a deeper dive on any of the above, the library has compiled \u003ca href=\"https://sfpl.bibliocommons.com/list/share/379727478_sfpl_artmusiclibrarians/2539869619_cinematic_san_francisco\">a list of recommendations\u003c/a> for further reading, and all the titles discussed are available to library patrons via \u003ca href=\"https://www.kanopy.com/en\">Kanopy\u003c/a> or on DVD.)\u003c/p>\n\u003cp>Moretta says the talks, peppered throughout with short clips, are for anyone interested in film and learning more about San Francisco. “And then also for anyone who thinks they know everything,” she says. “I think everyone will have a discovery in the moment.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Jim Van Buskirk’s series of ‘\u003ca href=\"https://sfpl.org/events/2024/06/18/film-cinematic-san-francisco\">Film: Cinematic San Francisco\u003c/a>’ talks take place June 4, 11, 18 and 25 in the San Francisco Public Library’s Koret Auditorium (100 Larkin St.). All events begin at 6:00 p.m. and are free to attend.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13958891/film-talks-sfpl-san-francisco-jim-van-buskirk",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862",
"arts_74"
],
"tags": [
"arts_10278",
"arts_977",
"arts_7221",
"arts_585"
],
"featImg": "arts_13959080",
"label": "arts_140"
},
"arts_13958468": {
"type": "posts",
"id": "arts_13958468",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13958468",
"score": null,
"sort": [
1716919249000
]
},
"guestAuthors": [],
"slug": "hoodwinked-offers-a-strange-glimpse-into-awful-victorian-eye-care",
"title": "‘Hoodwinked’ Offers a Strange Glimpse Into (Awful) Victorian Eye Care",
"publishDate": 1716919249,
"format": "aside",
"headTitle": "‘Hoodwinked’ Offers a Strange Glimpse Into (Awful) Victorian Eye Care | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13958538\" class=\"wp-caption aligncenter\" style=\"max-width: 1634px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958538\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumofeye.jpg\" alt=\"A Victorian illustration of two men seated in chairs, holding a cylinder up to their faces.\" width=\"1634\" height=\"889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumofeye.jpg 1634w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumofeye-800x435.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumofeye-1020x555.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumofeye-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumofeye-768x418.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumofeye-1536x836.jpg 1536w\" sizes=\"(max-width: 1634px) 100vw, 1634px\">\u003cfigcaption class=\"wp-caption-text\">The Actina was manufactured by Professor* William C. Wilson [*not a real professor] and was advertised as a cure-all for deafness, loss of sight and loss of smell. \u003ccite>(Courtesy of the Museum of the Eye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’ve heard of Paul Bragg, it’s likely because you’re a fan of \u003ca href=\"https://www.bragg.com/products/liquid-aminos?variant=39960770248800\">Bragg Liquid Aminos\u003c/a>, the soy-based flavoring favored by vegans. Back in the 1920s, though, Bragg was a traveling salesman shilling holistic cures for human ailments. One such item was the Better Sight Vibrator: a wooden stick with spiral ridges down its length and a small cup on top. Bragg instructed people to hold the cup over their eyes and run a piece of wood along the length of the stick to create vibrations.\u003c/p>\n\u003cp>Promotional materials for the vibrator asserted:\u003c/p>\n\u003cblockquote>\u003cp>The inventor of the Better Sight Vibrator at one time did aerial and juggling acts … From these, he learned when his eyes tired from reading or deciphering intricate drawings, doing some juggling tricks would relieve his eye strain. After much research and experimenting, the Better Sight Vibrator and a set of exercises were developed.\u003c/p>\u003c/blockquote>\n\u003cp>[aside postid='arts_13957514']Needless to say, the object was entirely useless and, in 1935, Bragg was arrested and charged with practicing medicine without a license. (His pivot into vegan condiments was clearly much more successful.)\u003c/p>\n\u003cp>The Better Sight Vibrator is just one of the antique ophthalmology-related objects currently on display at San Francisco’s Museum of the Eye. Its new exhibit \u003cem>\u003ca href=\"https://www.aao.org/museum/special-exhibitions\">Hoodwinked: 19th Century Quack Medicine\u003c/a>\u003c/em> gathers other such devices, some of which made the preposterous claim to correct poor eyesight entirely.\u003c/p>\n\u003cfigure id=\"attachment_13958532\" class=\"wp-caption aligncenter\" style=\"max-width: 1779px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958532\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/eye-suction-scaled-e1716593605170.jpg\" alt=\"A rubber contraption resembling theater binoculars with a rotating device on the handle.\" width=\"1779\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">An ‘Ideal Sight Restorer’ from 1920, made by Professor* Charles A. Tyrell [*not a professor]. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One 1920 pamphlet by Doctor* Wesley M. Barrett [*not a doctor] declared that his specific system of eye training could cure every eye condition known to man as long as it wasn’t related to a specific disease. These included “such eye troubles as nearsightedness, farsightedness, astigmatism, old-age eyes, weak eyes, undeveloped eyes, eyestrain, squint and various eye muscle troubles, including cross-eyes.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pamphlet went on to state:\u003c/p>\n\u003cblockquote>\u003cp>The greatest crime of this age, against old and young alike, is the wholesale fitting of glasses for functional disorders and inharmonies of the eyes. The generation that witnesses the adoption of the principles and practice of the Natural Eyesight System in the schools of the land will also witness the passing of ‘The Age of Spectacles.’\u003c/p>\u003c/blockquote>\n\u003cp>The contraptions on display at the museum include suction cups, massagers, eye-rinsers that resemble tiny goblets and one so-called “coagulating” machine that claimed to use electricity to infuse eyes with oxygen and ozone. One small, metal, cylindrical object manufactured by William C. Wilson was advertised as a cure-all for deafness, loss of sight \u003ci>and\u003c/i> loss of smell. In reality, the “Actina” was a cone filled with oil of mustard and sassafras that would irritate the senses to no objective end.\u003c/p>\n\u003cfigure id=\"attachment_13958530\" class=\"wp-caption aligncenter\" style=\"max-width: 2110px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958530\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress.jpg\" alt=\"A turn-of-the-century postcard featuring an illustration of a stern woman under the title ‘The Blind May See.’\" width=\"2110\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress.jpg 2110w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress-1020x601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress-1536x906.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress-2048x1207.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress-1920x1132.jpg 1920w\" sizes=\"(max-width: 2110px) 100vw, 2110px\">\u003cfigcaption class=\"wp-caption-text\">Doctress* Narcissa Waterman [*not a doctor] sold an ‘eye water’ between 1872 and 1927. She often used mail order advertisements like this one from 1897 to sell her product. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You might be wondering how and why people were willing to give such devices the time of day at all. And the answers lie elsewhere in the museum. Eye doctors at the turn of the century used some brutal instruments on people’s eyeballs in the course of their treatments. One “artificial leech” on display, dating from 1890, is a silver instrument that ends in a series of small spikes. Faced with the prospect of a supposed professional sticking multiple needles in their eyes, it’s no wonder people turned to quacks instead.\u003c/p>\n\u003cp>One of the more delightful elements of \u003cem>Hoodwinked\u003c/em> is the art on display. Beautifully rendered, hand-painted anatomical diagrams can be seen in books dating all the way back to 1838. The Victorian artwork used to promote fraudulent “sight restorers” is also a marvel — the 19th-century equivalent of girls in movies who suddenly become desirable the second they take their glasses off.\u003c/p>\n\u003cfigure id=\"attachment_13958533\" class=\"wp-caption aligncenter\" style=\"max-width: 1552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumexhibit.jpg\" alt=\"A Victorian advertisement featuring illustrations of a girl clutching her forehead, then holding small cups against her eyes, then looking brighter and happier.\" width=\"1552\" height=\"1150\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumexhibit.jpg 1552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumexhibit-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumexhibit-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumexhibit-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumexhibit-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumexhibit-1536x1138.jpg 1536w\" sizes=\"(max-width: 1552px) 100vw, 1552px\">\u003cfigcaption class=\"wp-caption-text\">Many of the solutions sold to Victorians for use with eye cups were about as useful as water. \u003ccite>(Courtesy of the Museum of the Eye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hoodwinked\u003c/em> as an exhibition is small but mighty, though I do wish there were even more artifacts on display. What is here will make you feel nothing but gratitude for modern medicine. And the Better Sight Vibrator? Well, that’s something that has to be seen to be believed.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.aao.org/museum/special-exhibitions\">Hoodwinked: 19th Century Quack Medicine\u003c/a>’ is on view at San Francisco’s \u003ca href=\"https://www.aao.org/museum-of-the-eye\">Museum of the Eye\u003c/a> (645 Beach St.) through spring 2025. Entry is free.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "An entertaining exhibit at the Museum of the Eye documents 19th-century quack medicine in all its bizarre glory.",
"status": "publish",
"parent": 0,
"modified": 1726701396,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 813
},
"headData": {
"title": "Victorians Tried to Cure Blindess Using Eye Rinses, Suction Cups | KQED",
"description": "An entertaining exhibit at the Museum of the Eye documents 19th-century quack medicine in all its bizarre glory.",
"ogTitle": "‘Hoodwinked’ Offers a Strange Glimpse Into Awful Victorian Eye Care",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Hoodwinked’ Offers a Strange Glimpse Into Awful Victorian Eye Care",
"twDescription": "",
"twImgId": "",
"socialTitle": "Victorians Tried to Cure Blindess Using Eye Rinses, Suction Cups %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Hoodwinked’ Offers a Strange Glimpse Into (Awful) Victorian Eye Care",
"datePublished": "2024-05-28T11:00:49-07:00",
"dateModified": "2024-09-18T16:16:36-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13958468/hoodwinked-offers-a-strange-glimpse-into-awful-victorian-eye-care",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13958538\" class=\"wp-caption aligncenter\" style=\"max-width: 1634px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958538\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumofeye.jpg\" alt=\"A Victorian illustration of two men seated in chairs, holding a cylinder up to their faces.\" width=\"1634\" height=\"889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumofeye.jpg 1634w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumofeye-800x435.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumofeye-1020x555.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumofeye-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumofeye-768x418.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumofeye-1536x836.jpg 1536w\" sizes=\"(max-width: 1634px) 100vw, 1634px\">\u003cfigcaption class=\"wp-caption-text\">The Actina was manufactured by Professor* William C. Wilson [*not a real professor] and was advertised as a cure-all for deafness, loss of sight and loss of smell. \u003ccite>(Courtesy of the Museum of the Eye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’ve heard of Paul Bragg, it’s likely because you’re a fan of \u003ca href=\"https://www.bragg.com/products/liquid-aminos?variant=39960770248800\">Bragg Liquid Aminos\u003c/a>, the soy-based flavoring favored by vegans. Back in the 1920s, though, Bragg was a traveling salesman shilling holistic cures for human ailments. One such item was the Better Sight Vibrator: a wooden stick with spiral ridges down its length and a small cup on top. Bragg instructed people to hold the cup over their eyes and run a piece of wood along the length of the stick to create vibrations.\u003c/p>\n\u003cp>Promotional materials for the vibrator asserted:\u003c/p>\n\u003cblockquote>\u003cp>The inventor of the Better Sight Vibrator at one time did aerial and juggling acts … From these, he learned when his eyes tired from reading or deciphering intricate drawings, doing some juggling tricks would relieve his eye strain. After much research and experimenting, the Better Sight Vibrator and a set of exercises were developed.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13957514",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Needless to say, the object was entirely useless and, in 1935, Bragg was arrested and charged with practicing medicine without a license. (His pivot into vegan condiments was clearly much more successful.)\u003c/p>\n\u003cp>The Better Sight Vibrator is just one of the antique ophthalmology-related objects currently on display at San Francisco’s Museum of the Eye. Its new exhibit \u003cem>\u003ca href=\"https://www.aao.org/museum/special-exhibitions\">Hoodwinked: 19th Century Quack Medicine\u003c/a>\u003c/em> gathers other such devices, some of which made the preposterous claim to correct poor eyesight entirely.\u003c/p>\n\u003cfigure id=\"attachment_13958532\" class=\"wp-caption aligncenter\" style=\"max-width: 1779px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958532\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/eye-suction-scaled-e1716593605170.jpg\" alt=\"A rubber contraption resembling theater binoculars with a rotating device on the handle.\" width=\"1779\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">An ‘Ideal Sight Restorer’ from 1920, made by Professor* Charles A. Tyrell [*not a professor]. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One 1920 pamphlet by Doctor* Wesley M. Barrett [*not a doctor] declared that his specific system of eye training could cure every eye condition known to man as long as it wasn’t related to a specific disease. These included “such eye troubles as nearsightedness, farsightedness, astigmatism, old-age eyes, weak eyes, undeveloped eyes, eyestrain, squint and various eye muscle troubles, including cross-eyes.”\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 pamphlet went on to state:\u003c/p>\n\u003cblockquote>\u003cp>The greatest crime of this age, against old and young alike, is the wholesale fitting of glasses for functional disorders and inharmonies of the eyes. The generation that witnesses the adoption of the principles and practice of the Natural Eyesight System in the schools of the land will also witness the passing of ‘The Age of Spectacles.’\u003c/p>\u003c/blockquote>\n\u003cp>The contraptions on display at the museum include suction cups, massagers, eye-rinsers that resemble tiny goblets and one so-called “coagulating” machine that claimed to use electricity to infuse eyes with oxygen and ozone. One small, metal, cylindrical object manufactured by William C. Wilson was advertised as a cure-all for deafness, loss of sight \u003ci>and\u003c/i> loss of smell. In reality, the “Actina” was a cone filled with oil of mustard and sassafras that would irritate the senses to no objective end.\u003c/p>\n\u003cfigure id=\"attachment_13958530\" class=\"wp-caption aligncenter\" style=\"max-width: 2110px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958530\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress.jpg\" alt=\"A turn-of-the-century postcard featuring an illustration of a stern woman under the title ‘The Blind May See.’\" width=\"2110\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress.jpg 2110w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress-1020x601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress-1536x906.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress-2048x1207.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/doctress-1920x1132.jpg 1920w\" sizes=\"(max-width: 2110px) 100vw, 2110px\">\u003cfigcaption class=\"wp-caption-text\">Doctress* Narcissa Waterman [*not a doctor] sold an ‘eye water’ between 1872 and 1927. She often used mail order advertisements like this one from 1897 to sell her product. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You might be wondering how and why people were willing to give such devices the time of day at all. And the answers lie elsewhere in the museum. Eye doctors at the turn of the century used some brutal instruments on people’s eyeballs in the course of their treatments. One “artificial leech” on display, dating from 1890, is a silver instrument that ends in a series of small spikes. Faced with the prospect of a supposed professional sticking multiple needles in their eyes, it’s no wonder people turned to quacks instead.\u003c/p>\n\u003cp>One of the more delightful elements of \u003cem>Hoodwinked\u003c/em> is the art on display. Beautifully rendered, hand-painted anatomical diagrams can be seen in books dating all the way back to 1838. The Victorian artwork used to promote fraudulent “sight restorers” is also a marvel — the 19th-century equivalent of girls in movies who suddenly become desirable the second they take their glasses off.\u003c/p>\n\u003cfigure id=\"attachment_13958533\" class=\"wp-caption aligncenter\" style=\"max-width: 1552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumexhibit.jpg\" alt=\"A Victorian advertisement featuring illustrations of a girl clutching her forehead, then holding small cups against her eyes, then looking brighter and happier.\" width=\"1552\" height=\"1150\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumexhibit.jpg 1552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumexhibit-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumexhibit-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumexhibit-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumexhibit-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/museumexhibit-1536x1138.jpg 1536w\" sizes=\"(max-width: 1552px) 100vw, 1552px\">\u003cfigcaption class=\"wp-caption-text\">Many of the solutions sold to Victorians for use with eye cups were about as useful as water. \u003ccite>(Courtesy of the Museum of the Eye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hoodwinked\u003c/em> as an exhibition is small but mighty, though I do wish there were even more artifacts on display. What is here will make you feel nothing but gratitude for modern medicine. And the Better Sight Vibrator? Well, that’s something that has to be seen to be believed.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.aao.org/museum/special-exhibitions\">Hoodwinked: 19th Century Quack Medicine\u003c/a>’ is on view at San Francisco’s \u003ca href=\"https://www.aao.org/museum-of-the-eye\">Museum of the Eye\u003c/a> (645 Beach St.) through spring 2025. Entry is free.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13958468/hoodwinked-offers-a-strange-glimpse-into-awful-victorian-eye-care",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862"
],
"tags": [
"arts_10278",
"arts_769",
"arts_585"
],
"featImg": "arts_13958534",
"label": "arts_140"
},
"arts_13958493": {
"type": "posts",
"id": "arts_13958493",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13958493",
"score": null,
"sort": [
1716583385000
]
},
"guestAuthors": [],
"slug": "ralph-chesse-sfpl-library-exhibition-review-art-marionettes-brother-buzz",
"title": "Library Exhibit Honors the Prolific Output of an SF Artist and Puppeteer",
"publishDate": 1716583385,
"format": "aside",
"headTitle": "Library Exhibit Honors the Prolific Output of an SF Artist and Puppeteer | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13958495\" class=\"wp-caption aligncenter\" style=\"max-width: 2089px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o.jpg\" alt=\"Man in glasses and bowtie holds puppet controls above small bee puppet\" width=\"2089\" height=\"2060\" class=\"size-full wp-image-13958495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o.jpg 2089w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-800x789.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-1020x1006.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-1536x1515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-2048x2020.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-1920x1893.jpg 1920w\" sizes=\"(max-width: 2089px) 100vw, 2089px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Chessé with his Brother Buzz puppet, year unknown. \u003ccite>(Courtesy of the Chessé family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a library evangelist, it’s rather embarrassing for me to discover an area of San Francisco’s main branch that I have not visited before. Yet I have a feeling I’m not the only one who’s missed this particular corner of the building. Just inside the Larkin Street doors, down the first stairs on the right, is the 1,500-square-foot Jewett Gallery, offering rotating special exhibitions. \u003c/p>\n\u003cp>For the next three months, that exhibition is well worth seeking out. \u003ci>\u003ca href=\"https://sfpl.org/exhibits/2024/05/16/ralph-chesse-san-francisco-century\">Ralph Chessé: A San Francisco Century\u003c/a>\u003c/i> is a delightful and unexpected local history lesson on the prolific output of an artist, actor, puppeteer and creator of the long-running KPIX television show, \u003ci>The Wonderful World of Brother Buzz\u003c/i>. \u003c/p>\n\u003cp>Born in 1900 in New Orleans, Chessé moved to California in the 1920s to pursue the arts, plural. The library’s show, curated by Glen Helfand, contains evidence of this multi-hyphenate life: paintings, drawings, prints, marionettes and video documentation of performances. On top of that are family photographs, a reproduction of Chessé’s Coit Tower mural and a 1966 article that calls the Chessé family “a full-fledged theatrical dynasty.”\u003c/p>\n\u003cfigure id=\"attachment_13958499\" class=\"wp-caption aligncenter\" style=\"max-width: 1827px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-scaled.jpg\" alt=\"Black text on off-white paper advertising marionette performances\" width=\"1827\" height=\"2560\" class=\"size-full wp-image-13958499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-scaled.jpg 1827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-800x1121.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-1020x1429.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-1096x1536.jpg 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-1462x2048.jpg 1462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-1920x2690.jpg 1920w\" sizes=\"(max-width: 1827px) 100vw, 1827px\">\u003cfigcaption class=\"wp-caption-text\">‘Emperor Jones’ linocut print by Ralph Chessé, year unknown. \u003ccite>(Courtesy of the Chessé family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a lot, to be sure — Chessé lived to the age of 91. But the challenge of concisely presenting his long career is aided by snippets of QR-code-activated audio from Bruce and Matt Chessé, his son and grandson. Here we get a more personal understanding of Chessé’s racial identity, which was mixed race, a fact that went unacknowledged during his life in San Francisco. The show posits that his two favorite roles, Hamlet and \u003ca href=\"https://en.wikipedia.org/wiki/The_Emperor_Jones\">Emperor Jones\u003c/a>, were his artistic way of exploring his Black and white heritage.\u003c/p>\n\u003cp>In a spread of black-and-white photographs capturing Chessé in different costumes and roles, detailing his height (5’ 4 ½”), weight (125 lbs) and membership in the Screen Actors Guild, we get a first hint at his versatility. With a switch of posture and overcoat, he slips between serious detective and shrugging goof. He ponders, he listens, he stands distinguished with a long beard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Entranced from an early age by Shakespeare (picture a 13-year-old chasing down audiences to recite monologues from \u003ci>The Merchant of Venice\u003c/i>), Chessé didn’t have the height to win stage roles. And so he transferred his love for the Bard into marionette productions. The exhibition takes care to note that these stagings were “true theater, not shows for kids.”\u003c/p>\n\u003cfigure id=\"attachment_13958497\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000.jpg\" alt=\"Black and white photo of man in glasses drawing lines on a canvas\" width=\"2000\" height=\"1603\" class=\"size-full wp-image-13958497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-1536x1231.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-1920x1539.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Chessé drawing, year unknown. \u003ccite>(Courtesy of the Chessé family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A display of linocut posters, designed by Chessé and printed by his wife Jo on a laundry-wringer, shows both his sense of graphic design (punchy, lively) and the breadth of his theatrical material, which included \u003ci>Hamlet\u003c/i>, \u003ci>Hansel and Gretel\u003c/i> and \u003ci>H.M.S. Pinafore\u003c/i>. \u003c/p>\n\u003cp>Such ephemera shows Chessé moving his operations across the city, from the Yerba Buena Gardens neighborhood (long before it was Yerba Buena Gardens) to the bohemian hotbed that surrounded 628 Montgomery St. (aka the Monkey Block), before that building was demolished to make way for the Transamerica Pyramid.\u003c/p>\n\u003cfigure id=\"attachment_13958498\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000.jpg\" alt=\"Two bee puppets dressed in clothes on a rocky set\" width=\"2000\" height=\"2291\" class=\"size-full wp-image-13958498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-800x916.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-1020x1168.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-160x183.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-768x880.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-1341x1536.jpg 1341w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-1788x2048.jpg 1788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-1920x2199.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from the set of ‘Brother Buzz’ showing Brother Buzz and Busy Bee, year unknown. \u003ccite>(Courtesy of the Chessé family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These often hand-printed advertisements are also evidence of Chessé’s serious hustle. While he may have painted a mural in Coit Tower (children at play, strangely unsmiling in protest of the city’s response to the 1934 longshoremen’s strike) and served, in the ’30s, as the director of puppetry for the state of California for the Federal Theater Project, during WWII he worked in a Bay Area shipyard. As his son Bruce says in an audio clip, “He did not have a steady income until he was 56 years old.” \u003c/p>\n\u003cp>That was when the \u003ca href=\"https://www.latham.org/\">Latham Foundation for the Promotion of Humane Education\u003c/a> approached Chessé about a children’s television show to encourage kindness to animals. \u003ci>The Wonderful World of Brother Buzz\u003c/i> was on the air from 1953 to 1969, and saw Chessé creating a new animal marionette each week to illustrate those lessons. Just a few of these presumably hundreds of characters are on display in the Jewett Gallery, including dapper Brother Buzz (he wears a top hat) and a bat wearing a sharp tan suit.\u003c/p>\n\u003cp>It’s yet another tantalizing display of a smidgen of Chessé’s output (you can catch clips of the show the \u003ca href=\"https://vimeo.com/showcase/5048493\">Latham Foundation’s website\u003c/a>) in a show that might send you home Googling things like “unsmiling Coit Tower” and “City of Paris department store” — parts of San Francisco history graced by the seemingly inexhaustible talent of Ralph Chessé.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sfpl.org/exhibits/2024/05/16/ralph-chesse-san-francisco-century\">Ralph Chessé: A San Francisco Century\u003c/a>’ is on view at the San Francisco Public Library’s Jewett Gallery (100 Larkin St., Lower Level) through Aug. 18, 2024.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Ralph Chessé’s career included a Coit Tower mural, a groundbreaking children’s TV show and marionettes galore.",
"status": "publish",
"parent": 0,
"modified": 1726770935,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 889
},
"headData": {
"title": "Ralph Chessé’s Long Career as an Artist, Actor and Puppeteer | KQED",
"description": "Ralph Chessé’s career included a Coit Tower mural, a groundbreaking children’s TV show and marionettes galore.",
"ogTitle": "Library Exhibit Honors the Prolific Output of an SF Artist and Puppeteer",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Library Exhibit Honors the Prolific Output of an SF Artist and Puppeteer",
"twDescription": "",
"twImgId": "",
"socialTitle": "Ralph Chessé’s Long Career as an Artist, Actor and Puppeteer %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Library Exhibit Honors the Prolific Output of an SF Artist and Puppeteer",
"datePublished": "2024-05-24T13:43:05-07:00",
"dateModified": "2024-09-19T11:35:35-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13958493",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13958493/ralph-chesse-sfpl-library-exhibition-review-art-marionettes-brother-buzz",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13958495\" class=\"wp-caption aligncenter\" style=\"max-width: 2089px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o.jpg\" alt=\"Man in glasses and bowtie holds puppet controls above small bee puppet\" width=\"2089\" height=\"2060\" class=\"size-full wp-image-13958495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o.jpg 2089w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-800x789.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-1020x1006.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-1536x1515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-2048x2020.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/chesse_withbrbuzz_7x7_300dpi_53676981320_o-1920x1893.jpg 1920w\" sizes=\"(max-width: 2089px) 100vw, 2089px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Chessé with his Brother Buzz puppet, year unknown. \u003ccite>(Courtesy of the Chessé family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a library evangelist, it’s rather embarrassing for me to discover an area of San Francisco’s main branch that I have not visited before. Yet I have a feeling I’m not the only one who’s missed this particular corner of the building. Just inside the Larkin Street doors, down the first stairs on the right, is the 1,500-square-foot Jewett Gallery, offering rotating special exhibitions. \u003c/p>\n\u003cp>For the next three months, that exhibition is well worth seeking out. \u003ci>\u003ca href=\"https://sfpl.org/exhibits/2024/05/16/ralph-chesse-san-francisco-century\">Ralph Chessé: A San Francisco Century\u003c/a>\u003c/i> is a delightful and unexpected local history lesson on the prolific output of an artist, actor, puppeteer and creator of the long-running KPIX television show, \u003ci>The Wonderful World of Brother Buzz\u003c/i>. \u003c/p>\n\u003cp>Born in 1900 in New Orleans, Chessé moved to California in the 1920s to pursue the arts, plural. The library’s show, curated by Glen Helfand, contains evidence of this multi-hyphenate life: paintings, drawings, prints, marionettes and video documentation of performances. On top of that are family photographs, a reproduction of Chessé’s Coit Tower mural and a 1966 article that calls the Chessé family “a full-fledged theatrical dynasty.”\u003c/p>\n\u003cfigure id=\"attachment_13958499\" class=\"wp-caption aligncenter\" style=\"max-width: 1827px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-scaled.jpg\" alt=\"Black text on off-white paper advertising marionette performances\" width=\"1827\" height=\"2560\" class=\"size-full wp-image-13958499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-scaled.jpg 1827w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-800x1121.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-1020x1429.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-1096x1536.jpg 1096w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-1462x2048.jpg 1462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rc_linocut_emperorjones_8x11_300dpi_53676527411_o-1920x2690.jpg 1920w\" sizes=\"(max-width: 1827px) 100vw, 1827px\">\u003cfigcaption class=\"wp-caption-text\">‘Emperor Jones’ linocut print by Ralph Chessé, year unknown. \u003ccite>(Courtesy of the Chessé family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a lot, to be sure — Chessé lived to the age of 91. But the challenge of concisely presenting his long career is aided by snippets of QR-code-activated audio from Bruce and Matt Chessé, his son and grandson. Here we get a more personal understanding of Chessé’s racial identity, which was mixed race, a fact that went unacknowledged during his life in San Francisco. The show posits that his two favorite roles, Hamlet and \u003ca href=\"https://en.wikipedia.org/wiki/The_Emperor_Jones\">Emperor Jones\u003c/a>, were his artistic way of exploring his Black and white heritage.\u003c/p>\n\u003cp>In a spread of black-and-white photographs capturing Chessé in different costumes and roles, detailing his height (5’ 4 ½”), weight (125 lbs) and membership in the Screen Actors Guild, we get a first hint at his versatility. With a switch of posture and overcoat, he slips between serious detective and shrugging goof. He ponders, he listens, he stands distinguished with a long beard.\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>Entranced from an early age by Shakespeare (picture a 13-year-old chasing down audiences to recite monologues from \u003ci>The Merchant of Venice\u003c/i>), Chessé didn’t have the height to win stage roles. And so he transferred his love for the Bard into marionette productions. The exhibition takes care to note that these stagings were “true theater, not shows for kids.”\u003c/p>\n\u003cfigure id=\"attachment_13958497\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000.jpg\" alt=\"Black and white photo of man in glasses drawing lines on a canvas\" width=\"2000\" height=\"1603\" class=\"size-full wp-image-13958497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-768x616.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-1536x1231.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/rchesse_drawing_2000-1920x1539.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Chessé drawing, year unknown. \u003ccite>(Courtesy of the Chessé family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A display of linocut posters, designed by Chessé and printed by his wife Jo on a laundry-wringer, shows both his sense of graphic design (punchy, lively) and the breadth of his theatrical material, which included \u003ci>Hamlet\u003c/i>, \u003ci>Hansel and Gretel\u003c/i> and \u003ci>H.M.S. Pinafore\u003c/i>. \u003c/p>\n\u003cp>Such ephemera shows Chessé moving his operations across the city, from the Yerba Buena Gardens neighborhood (long before it was Yerba Buena Gardens) to the bohemian hotbed that surrounded 628 Montgomery St. (aka the Monkey Block), before that building was demolished to make way for the Transamerica Pyramid.\u003c/p>\n\u003cfigure id=\"attachment_13958498\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000.jpg\" alt=\"Two bee puppets dressed in clothes on a rocky set\" width=\"2000\" height=\"2291\" class=\"size-full wp-image-13958498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-800x916.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-1020x1168.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-160x183.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-768x880.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-1341x1536.jpg 1341w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-1788x2048.jpg 1788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/buss_busy_transparency_2000-1920x2199.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from the set of ‘Brother Buzz’ showing Brother Buzz and Busy Bee, year unknown. \u003ccite>(Courtesy of the Chessé family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These often hand-printed advertisements are also evidence of Chessé’s serious hustle. While he may have painted a mural in Coit Tower (children at play, strangely unsmiling in protest of the city’s response to the 1934 longshoremen’s strike) and served, in the ’30s, as the director of puppetry for the state of California for the Federal Theater Project, during WWII he worked in a Bay Area shipyard. As his son Bruce says in an audio clip, “He did not have a steady income until he was 56 years old.” \u003c/p>\n\u003cp>That was when the \u003ca href=\"https://www.latham.org/\">Latham Foundation for the Promotion of Humane Education\u003c/a> approached Chessé about a children’s television show to encourage kindness to animals. \u003ci>The Wonderful World of Brother Buzz\u003c/i> was on the air from 1953 to 1969, and saw Chessé creating a new animal marionette each week to illustrate those lessons. Just a few of these presumably hundreds of characters are on display in the Jewett Gallery, including dapper Brother Buzz (he wears a top hat) and a bat wearing a sharp tan suit.\u003c/p>\n\u003cp>It’s yet another tantalizing display of a smidgen of Chessé’s output (you can catch clips of the show the \u003ca href=\"https://vimeo.com/showcase/5048493\">Latham Foundation’s website\u003c/a>) in a show that might send you home Googling things like “unsmiling Coit Tower” and “City of Paris department store” — parts of San Francisco history graced by the seemingly inexhaustible talent of Ralph Chessé.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sfpl.org/exhibits/2024/05/16/ralph-chesse-san-francisco-century\">Ralph Chessé: A San Francisco Century\u003c/a>’ is on view at the San Francisco Public Library’s Jewett Gallery (100 Larkin St., Lower Level) through Aug. 18, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13958493/ralph-chesse-sfpl-library-exhibition-review-art-marionettes-brother-buzz",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862",
"arts_990",
"arts_70"
],
"tags": [
"arts_769",
"arts_7221",
"arts_5422",
"arts_585"
],
"featImg": "arts_13958497",
"label": "arts_140"
},
"arts_13955066": {
"type": "posts",
"id": "arts_13955066",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13955066",
"score": null,
"sort": [
1715978902000
]
},
"guestAuthors": [],
"slug": "del-martin-phyllis-lyon-lesbian-icons-lgbt-daughters-of-bilitis",
"title": "The San Francisco Couple Whose Lifelong Love Changed America",
"publishDate": 1715978902,
"format": "standard",
"headTitle": "The San Francisco Couple Whose Lifelong Love Changed America | KQED",
"labelTerm": {},
"content": "\u003cp>[dropcap]W[/dropcap]hen Del Martin and Phyllis Lyon co-authored \u003cem>Lesbian/Woman\u003c/em> in 1972, the effect was seismic. Dedicated to “daughters throughout the world who are struggling with their identity,” the book began with a clear, unequivocal explanation:\u003c/p>\n\u003cblockquote>\u003cp>A Lesbian is a woman whose primary erotic, psychological, emotional and social interest is in a member of her own sex.\u003c/p>\u003c/blockquote>\n\u003cp>That a book about lesbian culture would even require such a definition feels bizarre today. But the lifelong work of San Francisco couple Martin and Lyon is one of the reasons that so few people require such annotations now. \u003cem>Lesbian/Woman\u003c/em> didn’t just demystify same-sex female relationships — it calmly and clearly sought to normalize them. At the time, few representations of lesbians existed outside of lurid pulp fiction or psychology textbooks. \u003cem>Lesbian/Woman\u003c/em> changed the conversation and reassured queer women everywhere that there was nothing wrong with them.\u003c/p>\n\u003cp>[aside postid='arts_13889944']When Martin and Lyon began their relationship in 1952, after two years of friendship, America was a terrifying place to be LGBTQ. Looking back in 1995, the couple wrote an essay recalling the “climate of fear, rejection and oppression” that marked the earliest days of their 56-year romance. “Lesbians and gay men, if found out,” the pair wrote, “were subject to reprisals from all quarters of society: employers, police, military, government, family and friends.”\u003c/p>\n\u003cp>With that in mind — after moving into a Castro District apartment together on Valentine’s Day in 1953 — Martin and Lyon sought friendships with fellow lesbians outside of the oft-raided gay bars. That led to the establishment in 1955 of the \u003ca href=\"https://guides.loc.gov/lgbtq-studies/before-stonewall/daughters-of-bilitis\">Daughters of Bilitis\u003c/a> (DOB), the first lesbian-rights organization in the U.S.\u003c/p>\n\u003cp>Originally the idea of \u003ca href=\"https://www.instagram.com/queeriodicals/p/CFaBsyuAVGF/?img_index=1\">Rosalie Bamberger\u003c/a>, a local Filipina factory worker, the nonprofit started with just four couples. Martin was the club’s first president, and by the end of its first year, DOB had 15 official members. From there, the group expanded their ranks via the Daughters of Bilitis newsletter and, starting in October 1956, \u003ca href=\"https://archive.org/details/pub_ladder\">\u003cem>The Ladder\u003c/em>\u003c/a>, a groundbreaking lesbian magazine edited by Lyon. She held a degree in journalism from UC Berkeley, and had worked in magazines and newspapers since the ’40s — but here, she published under the pseudonym Ann Ferguson.\u003c/p>\n\u003cfigure id=\"attachment_13958039\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958039\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/the-ladder-scaled-e1715901912416.jpg\" alt=\"Three black and white covers of magazines. The first shows an androgynous person, the second features two cats, and the third is a sketch of a couple, viewed from behind, watching a sunset.\" width=\"1920\" height=\"891\">\u003cfigcaption class=\"wp-caption-text\">Issues of ‘The Ladder,’ a magazine for lesbians that began publishing in 1956. \u003ccite>(The Internet Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lyon’s pen name wasn’t the only reflection of the fear-of-being-found-out that marked the era: Daughters of Bilitis’ name came from \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Songs_of_Bilitis#:~:text=The%20Songs%20of%20Bilitis%20(%2Fb,work%20is%20considered%20a%20pseudotranslation.\">Songs of Bilitis\u003c/a>, \u003c/em>a collection of lesbian love poems published in 1894 by Pierre Louÿs, who claimed the text was based on ancient Greek scripts. If anyone asked, the women could say that DOB was merely a club for women who were passionate about Greek poetry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And in 1960, when the organization’s first conference was held in the penthouse of San Francisco’s \u003ca href=\"https://en.wikipedia.org/wiki/Hotel_Whitcomb\">Hotel Whitcomb\u003c/a>, all attendees were careful to wear skirts and dresses, lest they be accused of cross-dressing. (They were right to do so: SFPD’s “homosexual detail” showed up to see if anything nefarious was going on.) At one point, Martin and Lyon were so concerned about their office being raided and the DOB mailing list being exposed, they hid the document in the back of their station wagon.\u003c/p>\n\u003cp>Still, DOB persisted, acting as a support and social group, and as a source of information for its members. Even in the organization’s earliest days, Martin carried herself with an unrivaled fortitude. In 1959, she attended a Mattachine Society convention in Denver to voice her dissatisfaction with the gay organization’s attitude towards women. Pointing out that the group was 99% male, Martin announced from the stage: “Lesbians are not satisfied to be auxiliary members or second-class homosexuals. One of Mattachine’s aims is that of sexual equality. May I suggest that you start with the lesbian?”\u003c/p>\n\u003cp>Martin channeled that energy into her writing as well. Her first solo book, \u003ca href=\"https://www.goodreads.com/en/book/show/1142351\">\u003cem>Battered Wives\u003c/em>\u003c/a>, was published in 1976, becoming the first American book to discuss domestic violence in depth. By then, Martin was also the first out lesbian to have served on the National Organization of Women’s board of directors. Lyon was a fellow NOW member, which made them the first out lesbian couple to join.\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he ’70s were a time of great change for Martin and Lyon. Daughters of Bilitis and \u003cem>The Ladder\u003c/em> both came to an unceremonious halt in 1970 because of intragroup politics and a couple of bad actors. Without either entity to pour their energy into, Martin and Lyon instead focused on writing \u003cem>Lesbian/Woman —\u003c/em> and this time, with incredible bravery, they used their real names. A year later came \u003cem>Lesbian Love and Liberation: The Yes Book of Sex, \u003c/em>a sex-positive guide that Martin and Lyon wrote to encourage tolerance, consent and frankness in the bedroom. The very first page came out guns blazing:\u003c/p>\n\u003cblockquote>\u003cp>Yes, everyone has a right to a good sex life — including persons who have physical disabilities. Yes, sexuality is the most individualistic part of a person’s life. It is up to each individual to determine and then to assume responsibility for her or his own sexuality. Yes, sex is okay in its varying modes of expression — if people know what they are doing, feel good about it and don’t harm others.\u003c/p>\u003c/blockquote>\n\u003cp>Less than two years after \u003cem>Lesbian/Woman’\u003c/em>s release, and just months after \u003cem>Lesbian Love and Liberation\u003c/em> came out, the Diagnostic and Statistical Manual of Mental Disorders finally stopped defining homosexuality as a mental illness.\u003c/p>\n\u003cp>By 1979, the couple had established the \u003ca href=\"https://lyon-martin.org/\">Lyon-Martin Women’s Health Center\u003c/a> in San Francisco — a safe space for lesbian couples to receive healthcare. “We were trying to help lesbians find themselves,” Lyon said in 1989. “I mean, you can’t have a movement if you don’t have people that see that they’re worthwhile.” (Today, the clinic is also focused on serving trans, non-binary, gender non-conforming and intersex people.)\u003c/p>\n\u003cp>[aside postid='arts_13870056']Throughout the ’90s, as LGBTQ people increasingly found acceptance in America, Martin and Lyon celebrated how far they had come in a series of interviews and essays. While the \u003cem>San Francisco Examiner\u003c/em> referred to them as “the mothers of lesbian visibility,” the couple remained hilariously open about how long it took them to figure themselves out. In one 1992 interview, Martin joked about Lyon being a “straight lesbian for a while,” even after they were living together as a couple. Lyon laughed at the memory, admitting, “I was a little slow…”\u003c/p>\n\u003cp>In 2004, Martin and Lyon became the first same-sex couple to marry in San Francisco. At a mass wedding reception for 600 newlyweds on Feb. 23, 2004, Lyon said: “I think it’s important for a lot of the people that got married … but also for our friends who didn’t get married.”\u003c/p>\n\u003cfigure id=\"attachment_13958064\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-scaled.jpg\" alt=\"A 2004 San Francisco marriage license.\" width=\"2560\" height=\"2362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-800x738.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1020x941.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-768x709.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1536x1417.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-2048x1890.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1920x1771.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Del Martin and Phyllis Lyon’s first marriage certificate. \u003ccite>(Courtesy of the San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unions were frustratingly short-lived — within a month, the California Supreme Court had declared every same-sex marriage that had just taken place in San Francisco invalid.\u003c/p>\n\u003cp>But four years later, Lyon and Martin proudly returned to City Hall and made things official once more, after the California Supreme Court’s landmark decision on marriage equality. The couple were literally first in line, just as they had been in 2004, and were married by then-Mayor Gavin Newsom — the man who had sanctioned their first wedding. They even wore the same \u003ca href=\"https://en.wikipedia.org/wiki/GLBT_Historical_Society#/media/File:GLBTHistoryMuseum.WeddingPantsuits12_10.jpg\">mauve and turquoise suits\u003c/a> they had worn for their first ceremony. (Those outfits are now held in San Francisco’s GLBT Historical Society’s permanent collection.)\u003c/p>\n\u003cp>[aside postid='pop_102855']It was an enormously meaningful day for the couple. When Martin died at the age of 87, less than three months after their wedding, Lyon said: “I am devastated, but I take some solace in knowing we were able to enjoy the ultimate rite of love and commitment before she passed.” Castro’s Pride flag and the flags at City Hall flew at half-mast in Martin’s honor.\u003c/p>\n\u003cp>Lyon soldiered on without her love for another 12 years. She died in 2020, aged 95, at home in San Francisco. On learning of the news, Gavin Newsom tweeted: “Phyllis — It was the honor of a lifetime to marry you & Del. Your courage changed the course of history.”\u003c/p>\n\u003cp>It would be a gross understatement to say that Del Martin and Phyllis Lyon’s love, and their willingness to speak openly and often about it, impacted America’s view of same-sex unions. The couple spent their whole lives putting themselves in the spotlight — and sometimes grave danger — to raise awareness, and to help women still struggling with their own sexualities.\u003c/p>\n\u003cp>In 2017, Lyon reminded the world why she and Martin had lived their lives in service. “If you’ve got stuff you want to change, you have to get out and work on it,” she said. “You can’t just sit around and say ‘I wish this or that was different.’ You have to fight for it.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Del Martin and Phyllis Lyon, 'mothers of lesbian visibility,' spent their lives writing, organizing and celebrating their relationship.",
"status": "publish",
"parent": 0,
"modified": 1769719265,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 26,
"wordCount": 1665
},
"headData": {
"title": "Honoring Lesbian Icons Del Martin and Phyllis Lyon | KQED",
"description": "Del Martin and Phyllis Lyon, 'mothers of lesbian visibility,' spent their lives writing, organizing and celebrating their relationship.",
"ogTitle": "The San Francisco Couple Whose Lifelong Love Changed America",
"ogDescription": "",
"ogImgId": "",
"twTitle": "The San Francisco Couple Whose Lifelong Love Changed America",
"twDescription": "",
"twImgId": "",
"socialTitle": "Honoring Lesbian Icons Del Martin and Phyllis Lyon%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The San Francisco Couple Whose Lifelong Love Changed America",
"datePublished": "2024-05-17T13:48:22-07:00",
"dateModified": "2026-01-29T12:41:05-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 7862,
"slug": "history",
"name": "History"
},
"source": "Rebel Girls",
"sourceUrl": "https://www.kqed.org/rebelgirls",
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/77276f4e-2bed-4bec-b939-b2090145cb10/audio.mp3",
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13955066/del-martin-phyllis-lyon-lesbian-icons-lgbt-daughters-of-bilitis",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen Del Martin and Phyllis Lyon co-authored \u003cem>Lesbian/Woman\u003c/em> in 1972, the effect was seismic. Dedicated to “daughters throughout the world who are struggling with their identity,” the book began with a clear, unequivocal explanation:\u003c/p>\n\u003cblockquote>\u003cp>A Lesbian is a woman whose primary erotic, psychological, emotional and social interest is in a member of her own sex.\u003c/p>\u003c/blockquote>\n\u003cp>That a book about lesbian culture would even require such a definition feels bizarre today. But the lifelong work of San Francisco couple Martin and Lyon is one of the reasons that so few people require such annotations now. \u003cem>Lesbian/Woman\u003c/em> didn’t just demystify same-sex female relationships — it calmly and clearly sought to normalize them. At the time, few representations of lesbians existed outside of lurid pulp fiction or psychology textbooks. \u003cem>Lesbian/Woman\u003c/em> changed the conversation and reassured queer women everywhere that there was nothing wrong with them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13889944",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>When Martin and Lyon began their relationship in 1952, after two years of friendship, America was a terrifying place to be LGBTQ. Looking back in 1995, the couple wrote an essay recalling the “climate of fear, rejection and oppression” that marked the earliest days of their 56-year romance. “Lesbians and gay men, if found out,” the pair wrote, “were subject to reprisals from all quarters of society: employers, police, military, government, family and friends.”\u003c/p>\n\u003cp>With that in mind — after moving into a Castro District apartment together on Valentine’s Day in 1953 — Martin and Lyon sought friendships with fellow lesbians outside of the oft-raided gay bars. That led to the establishment in 1955 of the \u003ca href=\"https://guides.loc.gov/lgbtq-studies/before-stonewall/daughters-of-bilitis\">Daughters of Bilitis\u003c/a> (DOB), the first lesbian-rights organization in the U.S.\u003c/p>\n\u003cp>Originally the idea of \u003ca href=\"https://www.instagram.com/queeriodicals/p/CFaBsyuAVGF/?img_index=1\">Rosalie Bamberger\u003c/a>, a local Filipina factory worker, the nonprofit started with just four couples. Martin was the club’s first president, and by the end of its first year, DOB had 15 official members. From there, the group expanded their ranks via the Daughters of Bilitis newsletter and, starting in October 1956, \u003ca href=\"https://archive.org/details/pub_ladder\">\u003cem>The Ladder\u003c/em>\u003c/a>, a groundbreaking lesbian magazine edited by Lyon. She held a degree in journalism from UC Berkeley, and had worked in magazines and newspapers since the ’40s — but here, she published under the pseudonym Ann Ferguson.\u003c/p>\n\u003cfigure id=\"attachment_13958039\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958039\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/the-ladder-scaled-e1715901912416.jpg\" alt=\"Three black and white covers of magazines. The first shows an androgynous person, the second features two cats, and the third is a sketch of a couple, viewed from behind, watching a sunset.\" width=\"1920\" height=\"891\">\u003cfigcaption class=\"wp-caption-text\">Issues of ‘The Ladder,’ a magazine for lesbians that began publishing in 1956. \u003ccite>(The Internet Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lyon’s pen name wasn’t the only reflection of the fear-of-being-found-out that marked the era: Daughters of Bilitis’ name came from \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Songs_of_Bilitis#:~:text=The%20Songs%20of%20Bilitis%20(%2Fb,work%20is%20considered%20a%20pseudotranslation.\">Songs of Bilitis\u003c/a>, \u003c/em>a collection of lesbian love poems published in 1894 by Pierre Louÿs, who claimed the text was based on ancient Greek scripts. If anyone asked, the women could say that DOB was merely a club for women who were passionate about Greek poetry.\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>And in 1960, when the organization’s first conference was held in the penthouse of San Francisco’s \u003ca href=\"https://en.wikipedia.org/wiki/Hotel_Whitcomb\">Hotel Whitcomb\u003c/a>, all attendees were careful to wear skirts and dresses, lest they be accused of cross-dressing. (They were right to do so: SFPD’s “homosexual detail” showed up to see if anything nefarious was going on.) At one point, Martin and Lyon were so concerned about their office being raided and the DOB mailing list being exposed, they hid the document in the back of their station wagon.\u003c/p>\n\u003cp>Still, DOB persisted, acting as a support and social group, and as a source of information for its members. Even in the organization’s earliest days, Martin carried herself with an unrivaled fortitude. In 1959, she attended a Mattachine Society convention in Denver to voice her dissatisfaction with the gay organization’s attitude towards women. Pointing out that the group was 99% male, Martin announced from the stage: “Lesbians are not satisfied to be auxiliary members or second-class homosexuals. One of Mattachine’s aims is that of sexual equality. May I suggest that you start with the lesbian?”\u003c/p>\n\u003cp>Martin channeled that energy into her writing as well. Her first solo book, \u003ca href=\"https://www.goodreads.com/en/book/show/1142351\">\u003cem>Battered Wives\u003c/em>\u003c/a>, was published in 1976, becoming the first American book to discuss domestic violence in depth. By then, Martin was also the first out lesbian to have served on the National Organization of Women’s board of directors. Lyon was a fellow NOW member, which made them the first out lesbian couple to join.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he ’70s were a time of great change for Martin and Lyon. Daughters of Bilitis and \u003cem>The Ladder\u003c/em> both came to an unceremonious halt in 1970 because of intragroup politics and a couple of bad actors. Without either entity to pour their energy into, Martin and Lyon instead focused on writing \u003cem>Lesbian/Woman —\u003c/em> and this time, with incredible bravery, they used their real names. A year later came \u003cem>Lesbian Love and Liberation: The Yes Book of Sex, \u003c/em>a sex-positive guide that Martin and Lyon wrote to encourage tolerance, consent and frankness in the bedroom. The very first page came out guns blazing:\u003c/p>\n\u003cblockquote>\u003cp>Yes, everyone has a right to a good sex life — including persons who have physical disabilities. Yes, sexuality is the most individualistic part of a person’s life. It is up to each individual to determine and then to assume responsibility for her or his own sexuality. Yes, sex is okay in its varying modes of expression — if people know what they are doing, feel good about it and don’t harm others.\u003c/p>\u003c/blockquote>\n\u003cp>Less than two years after \u003cem>Lesbian/Woman’\u003c/em>s release, and just months after \u003cem>Lesbian Love and Liberation\u003c/em> came out, the Diagnostic and Statistical Manual of Mental Disorders finally stopped defining homosexuality as a mental illness.\u003c/p>\n\u003cp>By 1979, the couple had established the \u003ca href=\"https://lyon-martin.org/\">Lyon-Martin Women’s Health Center\u003c/a> in San Francisco — a safe space for lesbian couples to receive healthcare. “We were trying to help lesbians find themselves,” Lyon said in 1989. “I mean, you can’t have a movement if you don’t have people that see that they’re worthwhile.” (Today, the clinic is also focused on serving trans, non-binary, gender non-conforming and intersex people.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13870056",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Throughout the ’90s, as LGBTQ people increasingly found acceptance in America, Martin and Lyon celebrated how far they had come in a series of interviews and essays. While the \u003cem>San Francisco Examiner\u003c/em> referred to them as “the mothers of lesbian visibility,” the couple remained hilariously open about how long it took them to figure themselves out. In one 1992 interview, Martin joked about Lyon being a “straight lesbian for a while,” even after they were living together as a couple. Lyon laughed at the memory, admitting, “I was a little slow…”\u003c/p>\n\u003cp>In 2004, Martin and Lyon became the first same-sex couple to marry in San Francisco. At a mass wedding reception for 600 newlyweds on Feb. 23, 2004, Lyon said: “I think it’s important for a lot of the people that got married … but also for our friends who didn’t get married.”\u003c/p>\n\u003cfigure id=\"attachment_13958064\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-scaled.jpg\" alt=\"A 2004 San Francisco marriage license.\" width=\"2560\" height=\"2362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-800x738.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1020x941.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-768x709.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1536x1417.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-2048x1890.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1920x1771.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Del Martin and Phyllis Lyon’s first marriage certificate. \u003ccite>(Courtesy of the San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unions were frustratingly short-lived — within a month, the California Supreme Court had declared every same-sex marriage that had just taken place in San Francisco invalid.\u003c/p>\n\u003cp>But four years later, Lyon and Martin proudly returned to City Hall and made things official once more, after the California Supreme Court’s landmark decision on marriage equality. The couple were literally first in line, just as they had been in 2004, and were married by then-Mayor Gavin Newsom — the man who had sanctioned their first wedding. They even wore the same \u003ca href=\"https://en.wikipedia.org/wiki/GLBT_Historical_Society#/media/File:GLBTHistoryMuseum.WeddingPantsuits12_10.jpg\">mauve and turquoise suits\u003c/a> they had worn for their first ceremony. (Those outfits are now held in San Francisco’s GLBT Historical Society’s permanent collection.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_102855",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>It was an enormously meaningful day for the couple. When Martin died at the age of 87, less than three months after their wedding, Lyon said: “I am devastated, but I take some solace in knowing we were able to enjoy the ultimate rite of love and commitment before she passed.” Castro’s Pride flag and the flags at City Hall flew at half-mast in Martin’s honor.\u003c/p>\n\u003cp>Lyon soldiered on without her love for another 12 years. She died in 2020, aged 95, at home in San Francisco. On learning of the news, Gavin Newsom tweeted: “Phyllis — It was the honor of a lifetime to marry you & Del. Your courage changed the course of history.”\u003c/p>\n\u003cp>It would be a gross understatement to say that Del Martin and Phyllis Lyon’s love, and their willingness to speak openly and often about it, impacted America’s view of same-sex unions. The couple spent their whole lives putting themselves in the spotlight — and sometimes grave danger — to raise awareness, and to help women still struggling with their own sexualities.\u003c/p>\n\u003cp>In 2017, Lyon reminded the world why she and Martin had lived their lives in service. “If you’ve got stuff you want to change, you have to get out and work on it,” she said. “You can’t just sit around and say ‘I wish this or that was different.’ You have to fight for it.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13955066/del-martin-phyllis-lyon-lesbian-icons-lgbt-daughters-of-bilitis",
"authors": [
"11242"
],
"series": [
"arts_22303"
],
"categories": [
"arts_1",
"arts_7862"
],
"tags": [
"arts_10278",
"arts_3226",
"arts_22180",
"arts_21841",
"arts_8263"
],
"featImg": "arts_13955067",
"label": "source_arts_13955066"
},
"arts_13957514": {
"type": "posts",
"id": "arts_13957514",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13957514",
"score": null,
"sort": [
1715374318000
]
},
"guestAuthors": [],
"slug": "1896-mystery-airship-bay-area-ufo-history-victorian-aliens",
"title": "In 1896, a Mysterious UFO Brought Northern California to a Mesmerized Halt",
"publishDate": 1715374318,
"format": "aside",
"headTitle": "In 1896, a Mysterious UFO Brought Northern California to a Mesmerized Halt | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13957590\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957590\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-4.30.03-PM.png\" alt=\"A Victorian illustration of two men watching an airship with wings and spotlights flying near the top of the Capitol building.\" width=\"1130\" height=\"994\">\u003cfigcaption class=\"wp-caption-text\">A rendition of the airship seen in the skies above Sacramento, as illustrated in ‘The San Francisco Call and Post’ on Nov. 29, 1896.\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1890s, Northern California was in flux — living with Victorian sensibilities, but surrounded by remnants of the gold rush. \u003ca href=\"https://www.kqed.org/arts/13912657/gum-girls-midwinter-fair-san-francisco-history-golden-gate-park\">San Francisco’s Midwinter Fair\u003c/a> in 1894 had ushered in an age of electricity-fueled modernity, but \u003ca href=\"https://www.kqed.org/arts/13932525/mother-thompson-san-francisco-tavern-owner-bay-area-history\">sailors were still brawling\u003c/a> it out down on the Embarcadero. New-fangled ways to have fun — like the \u003ca href=\"https://www.kqed.org/arts/13909983/victorian-attractions-san-francisco-chutes-gravity-railroad-woodwards-gardens-bonet-tower-auditorium-skating\">Haight Street Chutes\u003c/a> and home \u003ca href=\"https://www.kqed.org/arts/13924208/uc-santa-barbara-edison-phonograph-audio-cylinder-archive-vaudeville-racism\">phonographs\u003c/a> — were all the rage, but, for most, life revolved around basic necessities.\u003c/p>\n\u003cp>In November 1896, however, the entire region was excited and united by one thing: a mysterious “airship” that was spotted repeatedly in the skies over San Francisco, Oakland and Sacramento. At the time, airships had been invented but they were flown primarily in Europe and had yet to make a West Coast debut. To see an airship over the Bay Area in 1896 wasn’t just unusual, it was entirely unheard of — and yet, suddenly, hundreds of witnesses began reporting just that.\u003c/p>\n\u003cp>[aside postid='arts_13917340']Making these sightings all the more perplexing was the fact that they only happened at night, and the aircraft in question reportedly had wings, making it unlike any airship that existed at the time. Multiple passengers on an Oakland streetcar one November night described the craft hovering over Fruitvale as “resembling a huge bird in its outlines … which seemed to rise and fall in its course.”\u003c/p>\n\u003cp>That night, the streetcar’s conductor said the ship had one powerful headlight and several smaller lights on board. This was a welcome elaboration, as many witnesses around the Bay had reported seeing only bright lights in the sky. The day after the sighting on the streetcar, \u003cem>The San Francisco Call and Post\u003c/em> reported that:\u003c/p>\n\u003cblockquote>\u003cp>[The airship] was high in the heavens and appeared to be of huge size. When first seen, it seemed to be floating over San Leandro. It moved rapidly, going at least twenty miles an hour. It shot across the skies in the northwest, then turned quickly and disappeared in the direction of Hayward.\u003c/p>\u003c/blockquote>\n\u003cp>The newspaper was particularly invested in the story, since its very own advertising manager, Samuel Foltz, had seen the craft from his Parnassus Heights home in San Francisco. He wasn’t the only one. Colonel W. H. Menton of the Southern Pacific Railroad Company saw the airship from the Supreme Court building at Larkin and McAllister. “The light was far brighter than any of the electric lights I saw just below, in and about the park,” he also told \u003cem>The Call\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another witness cited in the newspaper that day was Mayor Adolph Sutro, who had several employees who’d seen the craft days before newspapers had even begun reporting the sightings. “I certainly think that some shrewd inventor has solved the problem of aerial navigation,” Sutro said, “and that we will hear all about it within a short time.”\u003c/p>\n\u003cp>[aside postid='arts_13919589']Here, then, is where the mystery deepens.\u003c/p>\n\u003cp>No such inventor ever came forward. And no winged airship was ever patented and produced. In fact, the first gas-powered Zeppelin didn’t fly until July 1900, and its maiden voyage was in Germany. Airships weren’t even used by the US Army until 1908. So what were so many people seeing in the skies around the Bay in 1896?\u003c/p>\n\u003cfigure id=\"attachment_13957579\" class=\"wp-caption aligncenter\" style=\"max-width: 1598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957579\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM.png\" alt=\"A Victorian illustration of a man gazing up at dark skies, astonished to see a clipper ship there.\" width=\"1598\" height=\"1246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM.png 1598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-800x624.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-1020x795.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-768x599.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-1536x1198.png 1536w\" sizes=\"(max-width: 1598px) 100vw, 1598px\">\u003cfigcaption class=\"wp-caption-text\">This cartoon, referencing renowned ship builder and inventor Irving M. Scott, appeared in ‘The San Francisco Call’ in Nov. 1896, during the peak of the UFO sightings. \u003ccite>(The San Francisco Call and Post/ Newspapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, newspapers swirled with conjecture about whether or not a patent attorney named George Collins knew who the inventor of the mysterious craft was. Collins publicly spoke of being visited by a man who was seeking a patent for a new airship that he claimed had been spotted over Sacramento. Collins told the man he could not provide a patent without first seeing a model of the aircraft. With that, Collins told reporters, the client was gone, never to be seen again. “I know nothing about the airship,” the attorney said. “I do not know what it is made of, what power propels it, nor where its inventor now is.”\u003c/p>\n\u003cp>Frustrated by Collins’ lack of information, rumors began swirling around San Francisco that the mysterious inventor was a 34-year-old dentist named E. H. Benjamin. Dr. Benjamin had patented a variety of dental equipment through Collins and also acted as his dentist. But when a \u003cem>Call\u003c/em> reporter tracked him down, the dentist simply said: “I only wish I was the inventor. But I am inclined to think I would be afraid to go up in it.”\u003c/p>\n\u003cp>[aside postid='arts_13935838']By the end of 1896, Bay Area airship sightings had stopped altogether. The confounding thing is, they quickly started up in other parts of the country — first Nebraska in Feb. 1897, followed by Illinois, Michigan, Wisconsin, Iowa, Missouri and Kansas. The craft seen in Marshfield, Wisconsin was described as “cone-shaped with glaring headlights,” moving up to 70 mph — very similar to what had been seen in California.\u003c/p>\n\u003cp>Many newspapers of the era described credible sightings, alongside hoax attempts. Fake photos of a flying airship — made using images of a painted canvas on wires — were reported in Rogers Park, Illinois. Groups of men in Omaha, Nebraska and Burlington, Iowa confessed to sending up huge balloons to confuse people actively looking for the airship. And on April 2, 1897, the K\u003cem>ansas City Journal, \u003c/em>mindful that what it was describing may have been an April Fool’s prank, nevertheless reported a:\u003c/p>\n\u003cp>“Flying machine in view for more than an hour … [Witnesses] assert that the floating power seemed to be in a mammoth bag, supposedly filled with gas. To this were attached four light wings of triangular form, two on either side and from the great bag was suspended a cage or car. This car was canoe-shaped and appeared to be from twenty-five to thirty feet long. A few declared that the ship had red lights hung over the edges of the car.”\u003c/p>\n\u003cp>No one was quite sure what to believe, as is evidenced by the following words gingerly printed in Pennsylvania newspaper \u003cem>The York Dispatch\u003c/em> in May 1897:\u003c/p>\n\u003cblockquote>\u003cp>Recently, the newspapers of the whole country have been exploiting stories of airships seen hovering over various towns and country places in districts very far apart. The testimony seems unimpeachable, especially in the face of so many witnesses, but certain details are always lacking to complete the evidence.\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the end, the origins of 1896’s unidentified flying airship were never revealed. Theories posited in the century since have included: a mass media hoax, actual bonafide aliens visiting Earth and delusional witnesses (perhaps inspired by the recent publication of H. G. Wells’ \u003cem>The Time Machine\u003c/em>) confusing the planet Venus for an aircraft. The fact that no one ever took ownership of the aircraft leaves its existence tantalizingly open to interpretation. It all just depends on how much you want to believe.\u003c/p>\n\n",
"blocks": [],
"excerpt": "For weeks, witnesses in San Francisco, Oakland and Sacramento saw a mysterious \"airship.\" Then it disappeared.",
"status": "publish",
"parent": 0,
"modified": 1726770947,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 1231
},
"headData": {
"title": "The 1896 UFO That Stunned Bay Area Victorians | KQED",
"description": "For weeks, witnesses in San Francisco, Oakland and Sacramento saw a mysterious "airship." Then it disappeared.",
"ogTitle": "In 1896, a Mysterious UFO Brought Northern California to a Mesmerized Halt",
"ogDescription": "",
"ogImgId": "",
"twTitle": "In 1896, a Mysterious UFO Brought Northern California to a Mesmerized Halt",
"twDescription": "",
"twImgId": "",
"socialTitle": "The 1896 UFO That Stunned Bay Area Victorians%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In 1896, a Mysterious UFO Brought Northern California to a Mesmerized Halt",
"datePublished": "2024-05-10T13:51:58-07:00",
"dateModified": "2024-09-19T11:35:47-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/96fcc9c3-c4fd-4ac9-a9f1-b178014e6444/audio.mp3",
"sticky": false,
"nprStoryId": "kqed-13957514",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957590\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957590\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-4.30.03-PM.png\" alt=\"A Victorian illustration of two men watching an airship with wings and spotlights flying near the top of the Capitol building.\" width=\"1130\" height=\"994\">\u003cfigcaption class=\"wp-caption-text\">A rendition of the airship seen in the skies above Sacramento, as illustrated in ‘The San Francisco Call and Post’ on Nov. 29, 1896.\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1890s, Northern California was in flux — living with Victorian sensibilities, but surrounded by remnants of the gold rush. \u003ca href=\"https://www.kqed.org/arts/13912657/gum-girls-midwinter-fair-san-francisco-history-golden-gate-park\">San Francisco’s Midwinter Fair\u003c/a> in 1894 had ushered in an age of electricity-fueled modernity, but \u003ca href=\"https://www.kqed.org/arts/13932525/mother-thompson-san-francisco-tavern-owner-bay-area-history\">sailors were still brawling\u003c/a> it out down on the Embarcadero. New-fangled ways to have fun — like the \u003ca href=\"https://www.kqed.org/arts/13909983/victorian-attractions-san-francisco-chutes-gravity-railroad-woodwards-gardens-bonet-tower-auditorium-skating\">Haight Street Chutes\u003c/a> and home \u003ca href=\"https://www.kqed.org/arts/13924208/uc-santa-barbara-edison-phonograph-audio-cylinder-archive-vaudeville-racism\">phonographs\u003c/a> — were all the rage, but, for most, life revolved around basic necessities.\u003c/p>\n\u003cp>In November 1896, however, the entire region was excited and united by one thing: a mysterious “airship” that was spotted repeatedly in the skies over San Francisco, Oakland and Sacramento. At the time, airships had been invented but they were flown primarily in Europe and had yet to make a West Coast debut. To see an airship over the Bay Area in 1896 wasn’t just unusual, it was entirely unheard of — and yet, suddenly, hundreds of witnesses began reporting just that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13917340",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Making these sightings all the more perplexing was the fact that they only happened at night, and the aircraft in question reportedly had wings, making it unlike any airship that existed at the time. Multiple passengers on an Oakland streetcar one November night described the craft hovering over Fruitvale as “resembling a huge bird in its outlines … which seemed to rise and fall in its course.”\u003c/p>\n\u003cp>That night, the streetcar’s conductor said the ship had one powerful headlight and several smaller lights on board. This was a welcome elaboration, as many witnesses around the Bay had reported seeing only bright lights in the sky. The day after the sighting on the streetcar, \u003cem>The San Francisco Call and Post\u003c/em> reported that:\u003c/p>\n\u003cblockquote>\u003cp>[The airship] was high in the heavens and appeared to be of huge size. When first seen, it seemed to be floating over San Leandro. It moved rapidly, going at least twenty miles an hour. It shot across the skies in the northwest, then turned quickly and disappeared in the direction of Hayward.\u003c/p>\u003c/blockquote>\n\u003cp>The newspaper was particularly invested in the story, since its very own advertising manager, Samuel Foltz, had seen the craft from his Parnassus Heights home in San Francisco. He wasn’t the only one. Colonel W. H. Menton of the Southern Pacific Railroad Company saw the airship from the Supreme Court building at Larkin and McAllister. “The light was far brighter than any of the electric lights I saw just below, in and about the park,” he also told \u003cem>The Call\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another witness cited in the newspaper that day was Mayor Adolph Sutro, who had several employees who’d seen the craft days before newspapers had even begun reporting the sightings. “I certainly think that some shrewd inventor has solved the problem of aerial navigation,” Sutro said, “and that we will hear all about it within a short time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13919589",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Here, then, is where the mystery deepens.\u003c/p>\n\u003cp>No such inventor ever came forward. And no winged airship was ever patented and produced. In fact, the first gas-powered Zeppelin didn’t fly until July 1900, and its maiden voyage was in Germany. Airships weren’t even used by the US Army until 1908. So what were so many people seeing in the skies around the Bay in 1896?\u003c/p>\n\u003cfigure id=\"attachment_13957579\" class=\"wp-caption aligncenter\" style=\"max-width: 1598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957579\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM.png\" alt=\"A Victorian illustration of a man gazing up at dark skies, astonished to see a clipper ship there.\" width=\"1598\" height=\"1246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM.png 1598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-800x624.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-1020x795.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-768x599.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-1536x1198.png 1536w\" sizes=\"(max-width: 1598px) 100vw, 1598px\">\u003cfigcaption class=\"wp-caption-text\">This cartoon, referencing renowned ship builder and inventor Irving M. Scott, appeared in ‘The San Francisco Call’ in Nov. 1896, during the peak of the UFO sightings. \u003ccite>(The San Francisco Call and Post/ Newspapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, newspapers swirled with conjecture about whether or not a patent attorney named George Collins knew who the inventor of the mysterious craft was. Collins publicly spoke of being visited by a man who was seeking a patent for a new airship that he claimed had been spotted over Sacramento. Collins told the man he could not provide a patent without first seeing a model of the aircraft. With that, Collins told reporters, the client was gone, never to be seen again. “I know nothing about the airship,” the attorney said. “I do not know what it is made of, what power propels it, nor where its inventor now is.”\u003c/p>\n\u003cp>Frustrated by Collins’ lack of information, rumors began swirling around San Francisco that the mysterious inventor was a 34-year-old dentist named E. H. Benjamin. Dr. Benjamin had patented a variety of dental equipment through Collins and also acted as his dentist. But when a \u003cem>Call\u003c/em> reporter tracked him down, the dentist simply said: “I only wish I was the inventor. But I am inclined to think I would be afraid to go up in it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13935838",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>By the end of 1896, Bay Area airship sightings had stopped altogether. The confounding thing is, they quickly started up in other parts of the country — first Nebraska in Feb. 1897, followed by Illinois, Michigan, Wisconsin, Iowa, Missouri and Kansas. The craft seen in Marshfield, Wisconsin was described as “cone-shaped with glaring headlights,” moving up to 70 mph — very similar to what had been seen in California.\u003c/p>\n\u003cp>Many newspapers of the era described credible sightings, alongside hoax attempts. Fake photos of a flying airship — made using images of a painted canvas on wires — were reported in Rogers Park, Illinois. Groups of men in Omaha, Nebraska and Burlington, Iowa confessed to sending up huge balloons to confuse people actively looking for the airship. And on April 2, 1897, the K\u003cem>ansas City Journal, \u003c/em>mindful that what it was describing may have been an April Fool’s prank, nevertheless reported a:\u003c/p>\n\u003cp>“Flying machine in view for more than an hour … [Witnesses] assert that the floating power seemed to be in a mammoth bag, supposedly filled with gas. To this were attached four light wings of triangular form, two on either side and from the great bag was suspended a cage or car. This car was canoe-shaped and appeared to be from twenty-five to thirty feet long. A few declared that the ship had red lights hung over the edges of the car.”\u003c/p>\n\u003cp>No one was quite sure what to believe, as is evidenced by the following words gingerly printed in Pennsylvania newspaper \u003cem>The York Dispatch\u003c/em> in May 1897:\u003c/p>\n\u003cblockquote>\u003cp>Recently, the newspapers of the whole country have been exploiting stories of airships seen hovering over various towns and country places in districts very far apart. The testimony seems unimpeachable, especially in the face of so many witnesses, but certain details are always lacking to complete the evidence.\u003c/p>\u003c/blockquote>\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>In the end, the origins of 1896’s unidentified flying airship were never revealed. Theories posited in the century since have included: a mass media hoax, actual bonafide aliens visiting Earth and delusional witnesses (perhaps inspired by the recent publication of H. G. Wells’ \u003cem>The Time Machine\u003c/em>) confusing the planet Venus for an aircraft. The fact that no one ever took ownership of the aircraft leaves its existence tantalizingly open to interpretation. It all just depends on how much you want to believe.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_7862"
],
"tags": [
"arts_14353",
"arts_1143",
"arts_5779",
"arts_1146"
],
"featImg": "arts_13957664",
"label": "arts"
},
"arts_13956202": {
"type": "posts",
"id": "arts_13956202",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13956202",
"score": null,
"sort": [
1713482463000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1713482463,
"format": "standard",
"title": "Looking Back to When Hops, Not Wine, Ruled Sonoma County",
"headTitle": "Looking Back to When Hops, Not Wine, Ruled Sonoma County | KQED",
"content": "\u003cp>Ask any random old-timer in Sonoma County about their summer job as a teenager, and it’s not likely to have been working as a lifeguard at Ridgeway Pool or driving the train at Howarth Park. \u003c/p>\n\u003cp>Many locals of a certain age will tell you they picked hops. \u003c/p>\n\u003cp>These days, wine grapes are Sonoma County’s dominant, near-monoculture crop. But for many years in the early- to mid-20th century, the region’s most popular crop was hops: those funny-looking pinecone-shaped buds used in making beer. \u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://museumsc.org/ontap/\">On Tap: Sonoma County Hops and the Beer Revolution\u003c/a>\u003c/em>, a new exhibition at the Museum of Sonoma County, chronicles the rise, fall and recent renaissance of hop growing in the county. It also documents the breweries, both fledgling and nationally known, that loom large in Sonoma County’s beermaking history. \u003c/p>\n\u003cfigure id=\"attachment_13956206\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13956206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘On Tap: Sonoma County Hops & The Beer Revolution’ at the Museum of Sonoma County includes stories of the migrants and Dust Bowl refugees who worked as hop pickers in the early 20th century. \u003ccite>(Museum of Sonoma County)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition includes scenes of early hop picking, done mainly by poor families, Chinese immigrants, Indigenous people and young students. It covers these underpaid workers’ 1935 hop strike, and the \u003ca href=\"https://www.pressdemocrat.com/article/news/gaye-lebaron-remembering-aclu-awards-namesake-jack-green/?artslide=1\">infamous tarring and feathering of two labor organizers\u003c/a> that resulted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was a farmworker strike, in fact, that inspired one local hop grower, Florian Dauenhauer, to invent a mechanized hop harvester. Dauenhauer’s company is still active in Santa Rosa, and his invention remains in use today as the industry standard. His original patents are on view in the exhibition, as well as a modern version of his hop harvester. \u003c/p>\n\u003cp>Also on view is a wide-ranging collection of bottles, cans and other artifacts from \u003ca href=\"https://gracebrosbrewing.com/\">Grace Brothers Brewing\u003c/a>, one of the rare breweries to survive Prohibition. Grace Brothers, which operated for decades in central Santa Rosa, distributed its beer all over the country and has \u003ca href=\"https://www.pressdemocrat.com/article/news/benefield-grace-bros-beer-makes-a-treasured-and-temporary-return/\">since attracted a cult following\u003c/a> among beer fans. \u003c/p>\n\u003cp>[aside postID='news_11969212']By the 1945 harvest, Sonoma County hit its peak hop production, which generated $2.6 million from 25,000 bales. But mildew, aphids and cold weather soon set in.\u003c/p>\n\u003cp>“It faded away so fast,” said the museum’s curator of history Eric Stanley. “Literally within a couple of years, it nosedived.” By 1961, Sonoma County’s hop production was so low that the Farm Bureau stopped including it in its annual reports.\u003c/p>\n\u003cfigure id=\"attachment_13956205\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13956205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘On Tap: Sonoma County Hops & The Beer Revolution’ shows the machinery, packaging and distribution of legendary breweries such as Santa Rosa’s Grace Brothers Brewing, as well as early microbreweries like New Albion Brewing Co. in Sonoma. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, in 1976, New Albion Brewery started making beer in the town of Sonoma, becoming what’s now recognized as the first modern microbrewery in the United States. The exhibition includes photos, boxes and other ephemera from New Albion, a spiritual godfather to the county’s explosion of craft beer, and outfits like Mendocino Brewing Co., Moonlight Brewing Co., Russian River Brewing Co. and Henhouse Brewing. \u003c/p>\n\u003cp>When you have that much brewing going on, you need hops. Enter the new breed of Sonoma County hop growers, small in scale but dedicated to quality and innovation. The exhibition’s large photos show their new operations scattered around the county, tended to with care and innovation.\u003c/p>\n\u003cp>And who knows? In Sonoma County, there may yet be a victorious future for the small but mighty hop.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘On Tap: Sonoma County Hops and the Beer Revolution’ is on view from April 20–Sept. 1, 2024, at the Museum of Sonoma County (425 Seventh St., Santa Rosa). \u003ca href=\"https://museumsc.org/ontap/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 636,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1713482463,
"excerpt": "A new exhibit in Santa Rosa chronicles the rise, fall and recent renaissance of hop growing in the region.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A new exhibit in Santa Rosa chronicles the rise, fall and recent renaissance of hop growing in the region.",
"title": "Looking Back to When Hops, Not Wine, Ruled Sonoma County | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Looking Back to When Hops, Not Wine, Ruled Sonoma County",
"datePublished": "2024-04-18T16:21:03-07:00",
"dateModified": "2024-04-18T16:21:03-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "museum-of-sonoma-county-on-tap-hops-beer-exhibition-review",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"WpOldSlug": "museum-of-sonoma-county-on-tap-hops-beer-review",
"articleAge": "0",
"path": "/arts/13956202/museum-of-sonoma-county-on-tap-hops-beer-exhibition-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask any random old-timer in Sonoma County about their summer job as a teenager, and it’s not likely to have been working as a lifeguard at Ridgeway Pool or driving the train at Howarth Park. \u003c/p>\n\u003cp>Many locals of a certain age will tell you they picked hops. \u003c/p>\n\u003cp>These days, wine grapes are Sonoma County’s dominant, near-monoculture crop. But for many years in the early- to mid-20th century, the region’s most popular crop was hops: those funny-looking pinecone-shaped buds used in making beer. \u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://museumsc.org/ontap/\">On Tap: Sonoma County Hops and the Beer Revolution\u003c/a>\u003c/em>, a new exhibition at the Museum of Sonoma County, chronicles the rise, fall and recent renaissance of hop growing in the county. It also documents the breweries, both fledgling and nationally known, that loom large in Sonoma County’s beermaking history. \u003c/p>\n\u003cfigure id=\"attachment_13956206\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478.jpg\" alt=\"\" width=\"1920\" height=\"1920\" class=\"size-full wp-image-13956206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6478-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘On Tap: Sonoma County Hops & The Beer Revolution’ at the Museum of Sonoma County includes stories of the migrants and Dust Bowl refugees who worked as hop pickers in the early 20th century. \u003ccite>(Museum of Sonoma County)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition includes scenes of early hop picking, done mainly by poor families, Chinese immigrants, Indigenous people and young students. It covers these underpaid workers’ 1935 hop strike, and the \u003ca href=\"https://www.pressdemocrat.com/article/news/gaye-lebaron-remembering-aclu-awards-namesake-jack-green/?artslide=1\">infamous tarring and feathering of two labor organizers\u003c/a> that resulted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was a farmworker strike, in fact, that inspired one local hop grower, Florian Dauenhauer, to invent a mechanized hop harvester. Dauenhauer’s company is still active in Santa Rosa, and his invention remains in use today as the industry standard. His original patents are on view in the exhibition, as well as a modern version of his hop harvester. \u003c/p>\n\u003cp>Also on view is a wide-ranging collection of bottles, cans and other artifacts from \u003ca href=\"https://gracebrosbrewing.com/\">Grace Brothers Brewing\u003c/a>, one of the rare breweries to survive Prohibition. Grace Brothers, which operated for decades in central Santa Rosa, distributed its beer all over the country and has \u003ca href=\"https://www.pressdemocrat.com/article/news/benefield-grace-bros-beer-makes-a-treasured-and-temporary-return/\">since attracted a cult following\u003c/a> among beer fans. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11969212",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>By the 1945 harvest, Sonoma County hit its peak hop production, which generated $2.6 million from 25,000 bales. But mildew, aphids and cold weather soon set in.\u003c/p>\n\u003cp>“It faded away so fast,” said the museum’s curator of history Eric Stanley. “Literally within a couple of years, it nosedived.” By 1961, Sonoma County’s hop production was so low that the Farm Bureau stopped including it in its annual reports.\u003c/p>\n\u003cfigure id=\"attachment_13956205\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13956205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6485-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘On Tap: Sonoma County Hops & The Beer Revolution’ shows the machinery, packaging and distribution of legendary breweries such as Santa Rosa’s Grace Brothers Brewing, as well as early microbreweries like New Albion Brewing Co. in Sonoma. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, in 1976, New Albion Brewery started making beer in the town of Sonoma, becoming what’s now recognized as the first modern microbrewery in the United States. The exhibition includes photos, boxes and other ephemera from New Albion, a spiritual godfather to the county’s explosion of craft beer, and outfits like Mendocino Brewing Co., Moonlight Brewing Co., Russian River Brewing Co. and Henhouse Brewing. \u003c/p>\n\u003cp>When you have that much brewing going on, you need hops. Enter the new breed of Sonoma County hop growers, small in scale but dedicated to quality and innovation. The exhibition’s large photos show their new operations scattered around the county, tended to with care and innovation.\u003c/p>\n\u003cp>And who knows? In Sonoma County, there may yet be a victorious future for the small but mighty hop.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘On Tap: Sonoma County Hops and the Beer Revolution’ is on view from April 20–Sept. 1, 2024, at the Museum of Sonoma County (425 Seventh St., Santa Rosa). \u003ca href=\"https://museumsc.org/ontap/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13956202/museum-of-sonoma-county-on-tap-hops-beer-exhibition-review",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862"
],
"tags": [
"arts_15443",
"arts_10278",
"arts_2721",
"arts_3217",
"arts_585"
],
"featImg": "arts_13956207",
"label": "arts_140"
},
"arts_13954766": {
"type": "posts",
"id": "arts_13954766",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13954766",
"score": null,
"sort": [
1711491761000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1711491761,
"format": "standard",
"title": "SF Historic Preservation Commission to Vote on Palace Hotel’s Neon Signs",
"headTitle": "SF Historic Preservation Commission to Vote on Palace Hotel’s Neon Signs | KQED",
"content": "\u003cp>After arguing their case at the end of a marathon five-hour hearing on March 20, neon aficionados will have to wait until April 3 for San Francisco’s Historic Preservation Commission to vote on the future of the Palace Hotel’s iconic neon signs. \u003c/p>\n\u003cp>The hotel received approval in November 2023 to replace the glass tubes of its two “The Palace” signs with “simulated neon” LED lighting, \u003ca href=\"https://www.sfchronicle.com/sf/article/palace-hotel-sign-18601434.php\">as noted in January\u003c/a> by \u003ci>San Francisco Chronicle\u003c/i> urban design critic John Knight. But Randall Ann Homan and Al Barna of \u003ca href=\"https://sfneon.org/\">San Francisco Neon\u003c/a>, a nonprofit that leads neon walking tours, questioned why the building’s owner had seemingly received an over-the-counter permit without a hearing.\u003c/p>\n\u003cp>They raised the point with Supervisor Aaron Peskin, and on March 20, the matter came before the Historic Preservation Commission, along with 211 letters from the public urging the city to prevent the removal of the sign’s neon elements. Barna and four others spoke at the hearing against the LED replacements.\u003c/p>\n\u003cp>The commission did not hear any in-person comment or receive any letters in favor of the proposed LED lighting. With time running short, the vote was delayed until the next meeting. \u003c/p>\n\u003cp>“It’s not only San Franciscans,” Barna says. “We know that people wrote in from Chicago and Denver, Los Angeles, New York City. If you’re interested in neon, this has made national news.”\u003c/p>\n\u003cfigure id=\"attachment_13954789\" class=\"wp-caption aligncenter\" style=\"max-width: 1950px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After.jpeg\" alt=\"Glowing lettering against sky and scaffolding covering lettering\" width=\"1950\" height=\"960\" class=\"size-full wp-image-13954789\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After.jpeg 1950w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-800x394.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-1020x502.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-160x79.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-768x378.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-1536x756.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-1920x945.jpeg 1920w\" sizes=\"(max-width: 1950px) 100vw, 1950px\">\u003cfigcaption class=\"wp-caption-text\">The Palace Hotel’s signs before and after work began to replace the neon tubes with LED lighting. \u003ccite>(Al Barna/SF Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The hotel sits outside the \u003ca href=\"https://sfplanning.s3.amazonaws.com/default/files/publications_reports/Tenderloin+Neon+Signs+Standards.pdf\">Tenderloin Neon Special Sign District\u003c/a>, which was established in 2022 to make it easier to erect new neon signs and repair existing ones. Appreciation of the value of historical signs seems to be on the rise — \u003ca href=\"https://blockclubchicago.org/2023/07/20/chicagos-vintage-signs-have-stronger-protections-under-new-city-ordinance/\">Chicago passed an ordinance\u003c/a> last summer to help preserve signs and murals that are at least 30 years old.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What was so disconcerting in the presentation by the sign company, is they were saying that at that height, you can’t tell the difference,” Homan says. “Why are other building materials considered historic and neon isn’t?”\u003c/p>\n\u003cp>Neon’s glass tubes are bent by hand, she points out, and made of recyclable materials, unlike the plastic in LEDs.\u003c/p>\n\u003cp>The hotel, built in 1878 and rebuilt after the 1906 earthquake and fire, stands at the corner of Market and New Montgomery Streets. Barna says the neon signs, which once read “Sheraton Palace,” have been on top of the seven-story building since 1954. \u003c/p>\n\u003cp>Homan calls the six-foot-tall porcelain enamel letters “the Cadillac of signs.” \u003c/p>\n\u003cp>“LED has its uses, definitely replacing incandescent bulbs, because it is lower-cost,” she says. “But the [electric] draw of the neon sign is much closer to LED.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And LED lighting is, Barna adds, “aesthetically, nowhere near as pleasing.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 506,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1711500697,
"excerpt": "The city will decide on April 3 whether the Palace may replace its neon tubes with LED lighting.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The city will decide on April 3 whether the Palace may replace its neon tubes with LED lighting.",
"title": "SF Historic Preservation Commission to Vote on Palace Hotel’s Neon Signs | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "SF Historic Preservation Commission to Vote on Palace Hotel’s Neon Signs",
"datePublished": "2024-03-26T15:22:41-07:00",
"dateModified": "2024-03-26T17:51:37-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "palace-hotel-neon-sign-leds-historic-commission",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13954766/palace-hotel-neon-sign-leds-historic-commission",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After arguing their case at the end of a marathon five-hour hearing on March 20, neon aficionados will have to wait until April 3 for San Francisco’s Historic Preservation Commission to vote on the future of the Palace Hotel’s iconic neon signs. \u003c/p>\n\u003cp>The hotel received approval in November 2023 to replace the glass tubes of its two “The Palace” signs with “simulated neon” LED lighting, \u003ca href=\"https://www.sfchronicle.com/sf/article/palace-hotel-sign-18601434.php\">as noted in January\u003c/a> by \u003ci>San Francisco Chronicle\u003c/i> urban design critic John Knight. But Randall Ann Homan and Al Barna of \u003ca href=\"https://sfneon.org/\">San Francisco Neon\u003c/a>, a nonprofit that leads neon walking tours, questioned why the building’s owner had seemingly received an over-the-counter permit without a hearing.\u003c/p>\n\u003cp>They raised the point with Supervisor Aaron Peskin, and on March 20, the matter came before the Historic Preservation Commission, along with 211 letters from the public urging the city to prevent the removal of the sign’s neon elements. Barna and four others spoke at the hearing against the LED replacements.\u003c/p>\n\u003cp>The commission did not hear any in-person comment or receive any letters in favor of the proposed LED lighting. With time running short, the vote was delayed until the next meeting. \u003c/p>\n\u003cp>“It’s not only San Franciscans,” Barna says. “We know that people wrote in from Chicago and Denver, Los Angeles, New York City. If you’re interested in neon, this has made national news.”\u003c/p>\n\u003cfigure id=\"attachment_13954789\" class=\"wp-caption aligncenter\" style=\"max-width: 1950px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After.jpeg\" alt=\"Glowing lettering against sky and scaffolding covering lettering\" width=\"1950\" height=\"960\" class=\"size-full wp-image-13954789\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After.jpeg 1950w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-800x394.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-1020x502.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-160x79.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-768x378.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-1536x756.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Palace-Hotel_Before-After-1920x945.jpeg 1920w\" sizes=\"(max-width: 1950px) 100vw, 1950px\">\u003cfigcaption class=\"wp-caption-text\">The Palace Hotel’s signs before and after work began to replace the neon tubes with LED lighting. \u003ccite>(Al Barna/SF Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The hotel sits outside the \u003ca href=\"https://sfplanning.s3.amazonaws.com/default/files/publications_reports/Tenderloin+Neon+Signs+Standards.pdf\">Tenderloin Neon Special Sign District\u003c/a>, which was established in 2022 to make it easier to erect new neon signs and repair existing ones. Appreciation of the value of historical signs seems to be on the rise — \u003ca href=\"https://blockclubchicago.org/2023/07/20/chicagos-vintage-signs-have-stronger-protections-under-new-city-ordinance/\">Chicago passed an ordinance\u003c/a> last summer to help preserve signs and murals that are at least 30 years old.\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>“What was so disconcerting in the presentation by the sign company, is they were saying that at that height, you can’t tell the difference,” Homan says. “Why are other building materials considered historic and neon isn’t?”\u003c/p>\n\u003cp>Neon’s glass tubes are bent by hand, she points out, and made of recyclable materials, unlike the plastic in LEDs.\u003c/p>\n\u003cp>The hotel, built in 1878 and rebuilt after the 1906 earthquake and fire, stands at the corner of Market and New Montgomery Streets. Barna says the neon signs, which once read “Sheraton Palace,” have been on top of the seven-story building since 1954. \u003c/p>\n\u003cp>Homan calls the six-foot-tall porcelain enamel letters “the Cadillac of signs.” \u003c/p>\n\u003cp>“LED has its uses, definitely replacing incandescent bulbs, because it is lower-cost,” she says. “But the [electric] draw of the neon sign is much closer to LED.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And LED lighting is, Barna adds, “aesthetically, nowhere near as pleasing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13954766/palace-hotel-neon-sign-leds-historic-commission",
"authors": [
"61"
],
"categories": [
"arts_1",
"arts_7862",
"arts_235"
],
"tags": [
"arts_22042",
"arts_1146",
"arts_1020"
],
"featImg": "arts_13954767",
"label": "arts"
},
"arts_13953890": {
"type": "posts",
"id": "arts_13953890",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13953890",
"score": null,
"sort": [
1710786030000
]
},
"guestAuthors": [],
"slug": "st-francis-hotel-san-francisco-history-arbuckle-jolson-crocker-gerald-ford",
"title": "5 Infamous Moments From the St. Francis Hotel’s 120-Year History",
"publishDate": 1710786030,
"format": "standard",
"headTitle": "5 Infamous Moments From the St. Francis Hotel’s 120-Year History | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>There was nothing low key about the opening of the St. Francis Hotel in March 1904. Built directly overlooking San Francisco’s Union Square, the hotel cost $2.5 million to construct (that’s $87 million in 2024 money) and $400,000 to furnish (nearly $14 million now).\u003c/p>\n\u003cp>That year, \u003cem>The San Francisco Call and Post\u003c/em> raved: “Its construction has been so designed that all the suites are light and airy and its interior domestic arrangements are unrivaled in the West.” The hotel celebrated its opening night with a glitzy party for 600 of the most fashionable people in the city, who spent the evening sipping on Moet & Chandon White Seal champagne.\u003c/p>\n\u003cfigure id=\"attachment_13954256\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240315_162322-1-scaled-e1710782681924.jpg\" alt=\"Three mechanized contraptions stand in a line against a white wall.\" width=\"1920\" height=\"1392\">\u003cfigcaption class=\"wp-caption-text\">The coin washing machine, as seen in the new St. Francis Museum. \u003ccite>(Rae Alexandra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since then, the St. Francis has been so married to keeping up appearances that in 1934, it even started washing the coins that passed through its coffers, lest staff and guests get their white gloves sullied. That kind of attention to detail has attracted famous and distinguished guests ever since — including Charlie Chaplin and Queen Elizabeth II. But it hasn’t all been smooth sailing.\u003c/p>\n\u003cp>Here are five infamous incidents from the St. Francis Hotel’s long history.\u003c/p>\n\u003ch2>The Fatty Arbuckle scandal\u003c/h2>\n\u003cp>Easily the most notorious thing to happen at the St. Francis Hotel transpired on Sept. 5, 1921. During a Labor Day party thrown by movie star Roscoe “Fatty” Arbuckle, a young actress named Virginia Rappe suffered a ruptured bladder and died shortly afterwards. Arbuckle was accused of sexual assault and manslaughter, prompting both the rumor mill and Prohibition-era morality police to kick into high gear. His two first trials resulted in hung juries. Arbuckle was found not guilty after a third round in court, but by then his reputation lay in ruins.\u003c/p>\n\u003cfigure id=\"attachment_13953917\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13953917 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-1536x1087.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-2048x1449.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-1920x1359.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe ‘Fatty’ Arbuckle (third from right) in San Francisco at one of his three manslaughter trials. \u003ccite>(Library of Congress/Corbis/ VCG via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arbuckle had rented adjoining rooms 1219, 1220 and 1221 on Labor Day and there were people moving between all of them. The enduring mystery around what happened to Rappe in room 1219 was caused by a combination of conflicting accounts from witnesses, two different versions of events from Arbuckle himself (he was married at the time), as well as confusion on the part of a gravely ill Rappe. The most detailed and painstakingly analyzed summary can be found in \u003ca href=\"https://www.abebooks.com/servlet/BookDetailsPL?bi=31754040004&cm_sp=rec-_-pd_hw_o_1-_-bdp&ref_=pd_hw_o_1\">Greg Merritt’s book, \u003cem>Room 1219\u003c/em>\u003c/a>. In it, Merritt concludes that Rappe’s bladder injury probably resulted from a combination of preexisting conditions (she lived with chronic cystitis) and an act of intimacy between Arbuckle and Rappe that started consensually.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the four days between the incident and Rappe’s death, Rappe told her nurses that she had already been “suffering for six weeks from internal trouble” at the time of her encounter with Arbuckle and that her pain was the result of “relations with her sweetheart,” Henry Lehrman. Rappe told one nurse that her contact with Arbuckle had been consensual, but she also asked that the nurse determine whether or not she’d been assaulted while unconscious.\u003c/p>\n\u003cp>In the end, Arbuckle’s final jury concluded:\u003c/p>\n\u003cblockquote>\u003cp>Acquittal is not enough for Roscoe Arbuckle. We feel that a great injustice has been done him. We feel also that it was only our plain duty to give him this exoneration, under the evidence, for there was not the slightest proof adduced to connect him in any way with the commission of a crime.\u003c/p>\u003c/blockquote>\n\u003cp>Though blacklisted for years, Arbuckle’s career recovered somewhat in the early 1930s. He didn’t live long enough to enjoy it though. He died of a heart attack, aged 46, in 1933. His last breath was taken inside a room at New York’s Park Central Hotel.\u003c/p>\n\u003cfigure id=\"attachment_13954257\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954257\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1219-today-scaled-e1710783111622.jpg\" alt=\"A modern hotel room with a queen sized bed.\" width=\"1920\" height=\"1551\">\u003cfigcaption class=\"wp-caption-text\">The infamous room 1219, as it looks today. \u003ccite>(Rae Alexandra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Al Jolson’s death in Arbuckle’s suite\u003c/h2>\n\u003cp>Nearly 30 years after Arbuckle made those three adjoining rooms on the 12th floor famous, Al Jolson — a singer best known today for his performances in blackface — got into trouble in the same suite. On Oct. 17, 1950, after an evening spent dining at \u003ca href=\"https://www.yelp.com/biz/tarantinos-restaurant-san-francisco\">Tarantino’s\u003c/a> in Fisherman’s Wharf, Jolson and two friends returned to his rooms to play cards.\u003c/p>\n\u003cp>Midway through a game of gin rummy in the parlor (1220), Jolson complained of chest pains and put himself to bed in 1221. Minutes later, he called to his friends with the words “Boys, this is it.” When a nurse arrived to check on Jolson, she found him fumbling and moaning. He apparently joked with her, “I must be dead — I can’t find a pulse.” By the time two doctors arrived, Jolson truly was at death’s door. His last words were, “Well boys, I’m going.”\u003c/p>\n\u003cp>[aside postid='arts_13952258']Louis Sobol, Jolson’s cousin-in-law, published a column in the \u003cem>San Francisco Examiner\u003c/em> a week after the 67-year-old’s death, stating that Jolson had been dealing with heart issues recently, but was optimistic about the future. That positivity may have been spurred by his 27-year-old wife, Erle.\u003c/p>\n\u003cp>Sobol wrote that after a recent doctor’s visit: “[Jolson] proudly boasted to pals at the Hillcrest Country Club: ‘Doc examining me said I’ll live to be 90 … I told him I was going to be the first guy in show business to live to be 100.’”\u003c/p>\n\u003ch2>The death of Henry S. Crocker\u003c/h2>\n\u003cp>Long before Rappe and Jolson’s final stays, the first major death to happen at the St. Francis came on July 18, 1904, just four months after the hotel opened. Prominent printing and stationery businessman Henry Crocker was the younger brother of railroad magnate Charles Crocker, whose heirs built the St. Francis.\u003c/p>\n\u003cp>Henry, his wife and son were some of the first permanent residents at the St. Francis and it’s there that Henry died, aged 72, after a short illness. His will and the distribution of his large estate dominated newspapers for weeks after his death.\u003c/p>\n\u003ch2>Gerald Ford’s almost-assassination\u003c/h2>\n\u003cfigure id=\"attachment_13953960\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953960\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-515402780-scaled-e1710285563457.jpg\" alt=\"A white woman in pale blue 1970s-era clothing sits in the rear of a brown car.\" width=\"1920\" height=\"1264\">\u003cfigcaption class=\"wp-caption-text\">Sara Jane Moore leaves San Mateo County Jail for a court appointment in San Francisco after attempting to assassinate President Gerald Ford outside the St. Francis Hotel. \u003ccite>(Bettmann/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Sept. 22, 1975, Gerald Ford finished a TV interview in the hotel’s MacArthur Suite, made his way six floors down with Secret Service agents and his advisor (Donald Rumsfeld!), and exited onto Post Street. Approximately 40 feet away, Sara Jane Moore was waiting for the president in a crowd of onlookers.\u003c/p>\n\u003cp>[aside postid='arts_13932525']That morning, Moore had purchased a brand new .38 pistol; police confiscated her own revolver the day before. It was 17 days after Manson Family member Squeaky Fromme attempted to kill Ford in Sacramento, and Moore, driven by radical political views and a belief in violent revolution, was determined to get the job done. Moore fired two shots at the president, the first of which narrowly missed his head. The second — fired as a bystander dived on Moore to stop her — hit a 42-year-old taxi driver named John Ludwig, who survived.\u003c/p>\n\u003cp>At her trial, Judge Samuel Conti made it clear that only the gun’s inaccurate sight prevented the 45-year-old from actually shooting the president. Moore stated in court that her actions were “a correct expression of my anger.” She went on to serve 32 years at \u003ca href=\"https://www.latimes.com/california/story/2024-03-12/fbi-raid-warden-ousted-dublin-california-womens-prison\">Dublin’s women’s prison\u003c/a> before she was released in 2007, a year after Ford’s death. On her release, Moore said she was glad she hadn’t succeeded in killing him.\u003c/p>\n\u003ch2>The fire\u003c/h2>\n\u003cfigure id=\"attachment_13953958\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473.jpg\" alt=\"A sepia-toned photograph of a tall, burned out building with two towers intact and a third under construction.\" width=\"1000\" height=\"758\" class=\"size-full wp-image-13953958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473-768x582.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">The hotel undergoing reconstruction after the post-earthquake 1906 fire gutted the property. \u003ccite>(OpenSFHistory/wnp27.5473)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On April 18, 1906, the St. Francis survived San Francisco’s 5:12 a.m. earthquake just fine. So much so that opera star \u003ca href=\"https://en.wikipedia.org/wiki/Enrico_Caruso\">Enrico Caruso\u003c/a> was served breakfast at the hotel later that morning. (After experiencing that day, Caruso swore he’d never come back to the city again — and he didn’t.)\u003c/p>\n\u003cp>That morning calm didn’t last, however. The hotel — along with its third tower, not long under construction — was soon engulfed in flames. But in many ways, the St. Francis became a symbol of the city’s tenacious rebuilding efforts. Just three months after the destruction, the annual dinner of the Merchants’ Association was given in the hotel’s banquet hall, even though it remained in terrible, charred shape and was surrounded by rubble.\u003c/p>\n\u003cp>[aside postid='arts_13912438']The St. Francis also carried the distinction of giving San Francisco its very own rebuilding mascot — a fox terrier that belonged to wine cellar manager James Hall. The dog was locked in the cellar when fire overtook the building, and it took five days for the hotel to stop smoldering enough for Hall to find out his pet’s fate.\u003c/p>\n\u003cp>“One of the first things to greet his startled gaze,” the \u003cem>San Francisco Chronicle\u003c/em> reported on May 27, 1906, “was the little fox terrier crouched beneath some machinery. The heat in the wine cellar must have been intense, but the little animal had managed to escape the flames and come out of the ordeal unsinged, although nearly dead from thirst and hunger. With tender care, Hall nursed the dog back to good health and spirits and not many days after his rescue, he was as cheerful and lively as before the fire.”\u003c/p>\n\u003cp>The dog’s survival gave a boost to beleaguered San Franciscans; he was renamed “Francis” in honor of the hotel that trapped yet saved him. Francis remains a fixture — in spirit at least — in the hotel today.\u003c/p>\n\u003cfigure id=\"attachment_13954255\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954255\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-1536x713.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-2048x951.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-1920x891.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): A book and soft toy honoring Francis, for sale at the hotel today; a photo of the real-life Francis; a painted depiction of Francis that adorns the wall of a new lounge in the hotel. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>As part of its 120th anniversary, the Westin St. Francis Hotel is opening a new museum on March 22, 2024, featuring memorabilia, artifacts and the coin-washing machine. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Hotel historian Howard Mutz leads free tours of the hotel every Saturday, starting under the clock of the Tower Lobby at 11 a.m.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Since 1904, the San Francisco landmark has experienced its fair share of death, debauchery and ... indestructible dogs?",
"status": "publish",
"parent": 0,
"modified": 1726771014,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 29,
"wordCount": 1790
},
"headData": {
"title": "San Francisco’s Infamous St. Francis Hotel: Dames, Deaths, Dogs | KQED",
"description": "Since 1904, the San Francisco landmark has experienced its fair share of death, debauchery and ... indestructible dogs?",
"ogTitle": "5 Infamous Historical Moments From San Francisco’s St. Francis Hotel",
"ogDescription": "",
"ogImgId": "",
"twTitle": "5 Infamous Historical Moments From San Francisco’s St. Francis Hotel",
"twDescription": "",
"twImgId": "",
"socialTitle": "San Francisco’s Infamous St. Francis Hotel: Dames, Deaths, Dogs%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "5 Infamous Moments From the St. Francis Hotel’s 120-Year History",
"datePublished": "2024-03-18T11:20:30-07:00",
"dateModified": "2024-09-19T11:36:54-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13953890/st-francis-hotel-san-francisco-history-arbuckle-jolson-crocker-gerald-ford",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There was nothing low key about the opening of the St. Francis Hotel in March 1904. Built directly overlooking San Francisco’s Union Square, the hotel cost $2.5 million to construct (that’s $87 million in 2024 money) and $400,000 to furnish (nearly $14 million now).\u003c/p>\n\u003cp>That year, \u003cem>The San Francisco Call and Post\u003c/em> raved: “Its construction has been so designed that all the suites are light and airy and its interior domestic arrangements are unrivaled in the West.” The hotel celebrated its opening night with a glitzy party for 600 of the most fashionable people in the city, who spent the evening sipping on Moet & Chandon White Seal champagne.\u003c/p>\n\u003cfigure id=\"attachment_13954256\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/20240315_162322-1-scaled-e1710782681924.jpg\" alt=\"Three mechanized contraptions stand in a line against a white wall.\" width=\"1920\" height=\"1392\">\u003cfigcaption class=\"wp-caption-text\">The coin washing machine, as seen in the new St. Francis Museum. \u003ccite>(Rae Alexandra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since then, the St. Francis has been so married to keeping up appearances that in 1934, it even started washing the coins that passed through its coffers, lest staff and guests get their white gloves sullied. That kind of attention to detail has attracted famous and distinguished guests ever since — including Charlie Chaplin and Queen Elizabeth II. But it hasn’t all been smooth sailing.\u003c/p>\n\u003cp>Here are five infamous incidents from the St. Francis Hotel’s long history.\u003c/p>\n\u003ch2>The Fatty Arbuckle scandal\u003c/h2>\n\u003cp>Easily the most notorious thing to happen at the St. Francis Hotel transpired on Sept. 5, 1921. During a Labor Day party thrown by movie star Roscoe “Fatty” Arbuckle, a young actress named Virginia Rappe suffered a ruptured bladder and died shortly afterwards. Arbuckle was accused of sexual assault and manslaughter, prompting both the rumor mill and Prohibition-era morality police to kick into high gear. His two first trials resulted in hung juries. Arbuckle was found not guilty after a third round in court, but by then his reputation lay in ruins.\u003c/p>\n\u003cfigure id=\"attachment_13953917\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13953917 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1812\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-1536x1087.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-2048x1449.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-640475679-1920x1359.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe ‘Fatty’ Arbuckle (third from right) in San Francisco at one of his three manslaughter trials. \u003ccite>(Library of Congress/Corbis/ VCG via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arbuckle had rented adjoining rooms 1219, 1220 and 1221 on Labor Day and there were people moving between all of them. The enduring mystery around what happened to Rappe in room 1219 was caused by a combination of conflicting accounts from witnesses, two different versions of events from Arbuckle himself (he was married at the time), as well as confusion on the part of a gravely ill Rappe. The most detailed and painstakingly analyzed summary can be found in \u003ca href=\"https://www.abebooks.com/servlet/BookDetailsPL?bi=31754040004&cm_sp=rec-_-pd_hw_o_1-_-bdp&ref_=pd_hw_o_1\">Greg Merritt’s book, \u003cem>Room 1219\u003c/em>\u003c/a>. In it, Merritt concludes that Rappe’s bladder injury probably resulted from a combination of preexisting conditions (she lived with chronic cystitis) and an act of intimacy between Arbuckle and Rappe that started consensually.\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>In the four days between the incident and Rappe’s death, Rappe told her nurses that she had already been “suffering for six weeks from internal trouble” at the time of her encounter with Arbuckle and that her pain was the result of “relations with her sweetheart,” Henry Lehrman. Rappe told one nurse that her contact with Arbuckle had been consensual, but she also asked that the nurse determine whether or not she’d been assaulted while unconscious.\u003c/p>\n\u003cp>In the end, Arbuckle’s final jury concluded:\u003c/p>\n\u003cblockquote>\u003cp>Acquittal is not enough for Roscoe Arbuckle. We feel that a great injustice has been done him. We feel also that it was only our plain duty to give him this exoneration, under the evidence, for there was not the slightest proof adduced to connect him in any way with the commission of a crime.\u003c/p>\u003c/blockquote>\n\u003cp>Though blacklisted for years, Arbuckle’s career recovered somewhat in the early 1930s. He didn’t live long enough to enjoy it though. He died of a heart attack, aged 46, in 1933. His last breath was taken inside a room at New York’s Park Central Hotel.\u003c/p>\n\u003cfigure id=\"attachment_13954257\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954257\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/1219-today-scaled-e1710783111622.jpg\" alt=\"A modern hotel room with a queen sized bed.\" width=\"1920\" height=\"1551\">\u003cfigcaption class=\"wp-caption-text\">The infamous room 1219, as it looks today. \u003ccite>(Rae Alexandra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Al Jolson’s death in Arbuckle’s suite\u003c/h2>\n\u003cp>Nearly 30 years after Arbuckle made those three adjoining rooms on the 12th floor famous, Al Jolson — a singer best known today for his performances in blackface — got into trouble in the same suite. On Oct. 17, 1950, after an evening spent dining at \u003ca href=\"https://www.yelp.com/biz/tarantinos-restaurant-san-francisco\">Tarantino’s\u003c/a> in Fisherman’s Wharf, Jolson and two friends returned to his rooms to play cards.\u003c/p>\n\u003cp>Midway through a game of gin rummy in the parlor (1220), Jolson complained of chest pains and put himself to bed in 1221. Minutes later, he called to his friends with the words “Boys, this is it.” When a nurse arrived to check on Jolson, she found him fumbling and moaning. He apparently joked with her, “I must be dead — I can’t find a pulse.” By the time two doctors arrived, Jolson truly was at death’s door. His last words were, “Well boys, I’m going.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952258",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Louis Sobol, Jolson’s cousin-in-law, published a column in the \u003cem>San Francisco Examiner\u003c/em> a week after the 67-year-old’s death, stating that Jolson had been dealing with heart issues recently, but was optimistic about the future. That positivity may have been spurred by his 27-year-old wife, Erle.\u003c/p>\n\u003cp>Sobol wrote that after a recent doctor’s visit: “[Jolson] proudly boasted to pals at the Hillcrest Country Club: ‘Doc examining me said I’ll live to be 90 … I told him I was going to be the first guy in show business to live to be 100.’”\u003c/p>\n\u003ch2>The death of Henry S. Crocker\u003c/h2>\n\u003cp>Long before Rappe and Jolson’s final stays, the first major death to happen at the St. Francis came on July 18, 1904, just four months after the hotel opened. Prominent printing and stationery businessman Henry Crocker was the younger brother of railroad magnate Charles Crocker, whose heirs built the St. Francis.\u003c/p>\n\u003cp>Henry, his wife and son were some of the first permanent residents at the St. Francis and it’s there that Henry died, aged 72, after a short illness. His will and the distribution of his large estate dominated newspapers for weeks after his death.\u003c/p>\n\u003ch2>Gerald Ford’s almost-assassination\u003c/h2>\n\u003cfigure id=\"attachment_13953960\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953960\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-515402780-scaled-e1710285563457.jpg\" alt=\"A white woman in pale blue 1970s-era clothing sits in the rear of a brown car.\" width=\"1920\" height=\"1264\">\u003cfigcaption class=\"wp-caption-text\">Sara Jane Moore leaves San Mateo County Jail for a court appointment in San Francisco after attempting to assassinate President Gerald Ford outside the St. Francis Hotel. \u003ccite>(Bettmann/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Sept. 22, 1975, Gerald Ford finished a TV interview in the hotel’s MacArthur Suite, made his way six floors down with Secret Service agents and his advisor (Donald Rumsfeld!), and exited onto Post Street. Approximately 40 feet away, Sara Jane Moore was waiting for the president in a crowd of onlookers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13932525",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>That morning, Moore had purchased a brand new .38 pistol; police confiscated her own revolver the day before. It was 17 days after Manson Family member Squeaky Fromme attempted to kill Ford in Sacramento, and Moore, driven by radical political views and a belief in violent revolution, was determined to get the job done. Moore fired two shots at the president, the first of which narrowly missed his head. The second — fired as a bystander dived on Moore to stop her — hit a 42-year-old taxi driver named John Ludwig, who survived.\u003c/p>\n\u003cp>At her trial, Judge Samuel Conti made it clear that only the gun’s inaccurate sight prevented the 45-year-old from actually shooting the president. Moore stated in court that her actions were “a correct expression of my anger.” She went on to serve 32 years at \u003ca href=\"https://www.latimes.com/california/story/2024-03-12/fbi-raid-warden-ousted-dublin-california-womens-prison\">Dublin’s women’s prison\u003c/a> before she was released in 2007, a year after Ford’s death. On her release, Moore said she was glad she hadn’t succeeded in killing him.\u003c/p>\n\u003ch2>The fire\u003c/h2>\n\u003cfigure id=\"attachment_13953958\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473.jpg\" alt=\"A sepia-toned photograph of a tall, burned out building with two towers intact and a third under construction.\" width=\"1000\" height=\"758\" class=\"size-full wp-image-13953958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/opensfhistory_wnp27.5473-768x582.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">The hotel undergoing reconstruction after the post-earthquake 1906 fire gutted the property. \u003ccite>(OpenSFHistory/wnp27.5473)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On April 18, 1906, the St. Francis survived San Francisco’s 5:12 a.m. earthquake just fine. So much so that opera star \u003ca href=\"https://en.wikipedia.org/wiki/Enrico_Caruso\">Enrico Caruso\u003c/a> was served breakfast at the hotel later that morning. (After experiencing that day, Caruso swore he’d never come back to the city again — and he didn’t.)\u003c/p>\n\u003cp>That morning calm didn’t last, however. The hotel — along with its third tower, not long under construction — was soon engulfed in flames. But in many ways, the St. Francis became a symbol of the city’s tenacious rebuilding efforts. Just three months after the destruction, the annual dinner of the Merchants’ Association was given in the hotel’s banquet hall, even though it remained in terrible, charred shape and was surrounded by rubble.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13912438",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The St. Francis also carried the distinction of giving San Francisco its very own rebuilding mascot — a fox terrier that belonged to wine cellar manager James Hall. The dog was locked in the cellar when fire overtook the building, and it took five days for the hotel to stop smoldering enough for Hall to find out his pet’s fate.\u003c/p>\n\u003cp>“One of the first things to greet his startled gaze,” the \u003cem>San Francisco Chronicle\u003c/em> reported on May 27, 1906, “was the little fox terrier crouched beneath some machinery. The heat in the wine cellar must have been intense, but the little animal had managed to escape the flames and come out of the ordeal unsinged, although nearly dead from thirst and hunger. With tender care, Hall nursed the dog back to good health and spirits and not many days after his rescue, he was as cheerful and lively as before the fire.”\u003c/p>\n\u003cp>The dog’s survival gave a boost to beleaguered San Franciscans; he was renamed “Francis” in honor of the hotel that trapped yet saved him. Francis remains a fixture — in spirit at least — in the hotel today.\u003c/p>\n\u003cfigure id=\"attachment_13954255\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954255\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-1536x713.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-2048x951.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/francis-1920x891.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L-R): A book and soft toy honoring Francis, for sale at the hotel today; a photo of the real-life Francis; a painted depiction of Francis that adorns the wall of a new lounge in the hotel. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>As part of its 120th anniversary, the Westin St. Francis Hotel is opening a new museum on March 22, 2024, featuring memorabilia, artifacts and the coin-washing machine. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Hotel historian Howard Mutz leads free tours of the hotel every Saturday, starting under the clock of the Tower Lobby at 11 a.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13953890/st-francis-hotel-san-francisco-history-arbuckle-jolson-crocker-gerald-ford",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_7862"
],
"tags": [
"arts_10278",
"arts_1146",
"arts_8366"
],
"featImg": "arts_13953961",
"label": "arts"
},
"arts_13953248": {
"type": "posts",
"id": "arts_13953248",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13953248",
"score": null,
"sort": [
1710518428000
]
},
"guestAuthors": [],
"slug": "topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history",
"title": "‘Topless at the Condor’ Profiles Carol Doda and the Tawdry Raunch of 1960s North Beach",
"publishDate": 1710518428,
"format": "aside",
"headTitle": "‘Topless at the Condor’ Profiles Carol Doda and the Tawdry Raunch of 1960s North Beach | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13951081\" class=\"wp-caption aligncenter\" style=\"max-width: 1857px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg\" alt=\"A beautiful blond woman wearing a white coat, miniskirt and boots under a marquee advertising Carol Doda at the Condor.\" width=\"1857\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg 1857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-800x1103.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1020x1406.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-768x1059.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1114x1536.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1485x2048.jpg 1485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1920x2647.jpg 1920w\" sizes=\"auto, (max-width: 1857px) 100vw, 1857px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda poses outside the Condor in the 1970s. \u003ccite>(Tim Boxer/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re familiar with North Beach anecdotes, you might have heard the one about the man who died on the Condor Club’s infamous hydraulic piano. The story goes that in 1983, Jimmy “the Beard” Ferrozzo was having sex with a girlfriend on the piano when he accidentally flipped a switch and wound up crushed against the ceiling.\u003c/p>\n\u003cp>One of the many revelations in the new documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13951078/carol-doda-documentary-san-francisco-release-date\">Carol Doda: Topless at the Condor\u003c/a>\u003c/em>, is that Ferrozzo was, more likely, murdered by the mob. Friends confirm that he was in trouble with some very dangerous people at the time, and news footage featured in the film demonstrates that police originally considered the death a homicide. What initially seems like a quirky little legend takes on a much more sinister air.\u003c/p>\n\u003cp>[aside postid='arts_13951126']That, in a nutshell, is the message of \u003cem>Topless at the Condor\u003c/em>: much of what’s been passed down as amusing stories actually belies a much darker underbelly.\u003c/p>\n\u003cp>The documentary follows Doda, the first woman to dance topless in North Beach, who sparked a craze in 1964 that ultimately transformed the neighborhood. Her story here initially seems a lighthearted one. The dainty, energetic, go-go-dancing cocktail waitress first bared her breasts at the Condor by wearing the most preposterous swimsuit in history — designer Rudi Gernreich’s \u003ca href=\"https://us.rudigernreich.com/products/monokini\">monokini\u003c/a>. Prior to that, nightclub dancers always covered their nipples with burlesque-style pasties.\u003c/p>\n\u003cp>Doda was such an instant sensation that topless novelty acts quickly emerged all over North Beach. Other bars scrambled to keep up with the Condor, introducing their own spins on Doda’s act. (The topless band at Tipsy’s is a particular highlight here. As is Judy Mamou, the dancer who incorporated snakes and a monkey into her routine.) Soon the entire neighborhood had topless fever; a menswear store opened with topless assistants, along with a topless shoeshine stand. (Those last two proved to be a step too far for local authorities.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tTITyLpW9nI\u003c/p>\n\u003cp>That, unfortunately, is right about where the fun ends. \u003cem>Topless at the Condor\u003c/em> reveals that Doda was the product of childhood neglect and an abusive early marriage. Doda also apparently had two children during that marriage — a fact that comes up almost as an aside towards the end of the movie. (\u003cem>Topless at the Condor\u003c/em> would have benefited from more on that topic.) Doda spent her life desperately seeking love wherever she could find it — and her audience was the most immediate and consistent source. That emotional reliance on the limelight, paired with a dearth of other job options ultimately left Doda overworked and underpaid. Though her likeness graced the Condor’s sign for decades, the club’s owners cruelly locked her out of any revenue shares.\u003c/p>\n\u003cp>Even bleaker, it was the Condor’s publicist Davey Rosenberg who first encouraged Doda — a naturally very small-chested woman — to get silicon injections. Though she spent her life making jokes about the largeness of her enhanced assets, behind the scenes, the injections caused Doda lifelong pain, as well as \u003ca href=\"https://www.hopkinsmedicine.org/health/conditions-and-diseases/goodpasture-syndrome\">the disease that ultimately killed her\u003c/a> in 2015. (A rival topless dancer interviewed in the film followed Doda’s lead, had her breasts pumped full of silicon and lost both of them at the age of 30 after developing gangrene.)\u003c/p>\n\u003cp>[aside postid='news_10755111']Though \u003cem>Topless at the Condor\u003c/em> does its best to explore whether Doda’s decision to take it all off could be considered a feminist act, the issue is far too complex for the film’s soundbites. Within Doda’s story, there are seeds of joy: bold women exercising the freedom to show off whatever body parts they wanted. The film attempts to draw a parallel between second-wave feminists who burned their bras and Doda’s decision to free her nipples. But this point is a stretch, at best. \u003c/p>\n\u003cp>In another line of argument, the film weighs dancers’ individual financial gains against the collective effects of normalized objectification. Unfortunately, despite some solid input from commentators like Wednesday Martin and Florence Williams, there simply isn’t enough time here to effectively unpack questions of empowerment and exploitation.\u003c/p>\n\u003cp>What the film does more successfully is transport the audience back to the sights, sounds, lights and music of 1960s North Beach. \u003ca href=\"https://www.kqed.org/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk\">Sly Stone\u003c/a>’s history in the neighborhood is a welcome addition to the narrative, as is the music of Teddy & George. The documentary is also outstanding when it comes to exploring Doda’s moxie, personal motivations and drive to survive. Some of the nuggets uncovered here about Doda’s later life — like the fact that she performed with a metal band at the DNA Lounge in the 1980s — are captivating. Any time interview footage of Doda is used, her charisma and complexity shine through.\u003c/p>\n\u003cp>Doda was a product of her time and circumstances and she paid dearly for both her boundary-pushing and endearing, devil-may-care attitude. The film works hard over its 100 minutes to pay Doda her dues and immortalize her life and legacy in a meaningful way. But, like so many who flocked to North Beach in the ’60s in search of a good time, viewers of \u003cem>Carol Doda: Topless at the Condor\u003c/em> might be surprised to find out just how much grime was lurking underneath all of that glitz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Carol Doda: Topless at the Condor’ opens at San Francisco’s \u003ca href=\"https://roxie.com/film/carol-doda-topless-at-the-condor/\">Roxie Theater\u003c/a> (3117 16th St.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/carol-doda-topless-at-the-condor/\">Smith Rafael Film Center\u003c/a> (1118 4th St.) on March 22, 2024. The documentary expands to screens nationwide on March 29.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Empowerment and exploitation commingle in an entertaining new documentary about the legendary North Beach dancer.",
"status": "publish",
"parent": 0,
"modified": 1750185788,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 975
},
"headData": {
"title": "‘Carol Doda: Topless at the Condor’ Review: Glitz, Grime, ’60s SF | KQED",
"description": "Empowerment and exploitation commingle in an entertaining new documentary about the legendary North Beach dancer.",
"ogTitle": "‘Topless at the Condor’ Profiles Carol Doda and the Raunch of 1960s North Beach",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Topless at the Condor’ Profiles Carol Doda and the Raunch of 1960s North Beach",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Carol Doda: Topless at the Condor’ Review: Glitz, Grime, ’60s SF %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Topless at the Condor’ Profiles Carol Doda and the Tawdry Raunch of 1960s North Beach",
"datePublished": "2024-03-15T09:00:28-07:00",
"dateModified": "2025-06-17T11:43:08-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951081\" class=\"wp-caption aligncenter\" style=\"max-width: 1857px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951081\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg\" alt=\"A beautiful blond woman wearing a white coat, miniskirt and boots under a marquee advertising Carol Doda at the Condor.\" width=\"1857\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-scaled.jpg 1857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-800x1103.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1020x1406.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-768x1059.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1114x1536.jpg 1114w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1485x2048.jpg 1485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-72626589-1920x2647.jpg 1920w\" sizes=\"auto, (max-width: 1857px) 100vw, 1857px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda poses outside the Condor in the 1970s. \u003ccite>(Tim Boxer/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re familiar with North Beach anecdotes, you might have heard the one about the man who died on the Condor Club’s infamous hydraulic piano. The story goes that in 1983, Jimmy “the Beard” Ferrozzo was having sex with a girlfriend on the piano when he accidentally flipped a switch and wound up crushed against the ceiling.\u003c/p>\n\u003cp>One of the many revelations in the new documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13951078/carol-doda-documentary-san-francisco-release-date\">Carol Doda: Topless at the Condor\u003c/a>\u003c/em>, is that Ferrozzo was, more likely, murdered by the mob. Friends confirm that he was in trouble with some very dangerous people at the time, and news footage featured in the film demonstrates that police originally considered the death a homicide. What initially seems like a quirky little legend takes on a much more sinister air.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951126",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>That, in a nutshell, is the message of \u003cem>Topless at the Condor\u003c/em>: much of what’s been passed down as amusing stories actually belies a much darker underbelly.\u003c/p>\n\u003cp>The documentary follows Doda, the first woman to dance topless in North Beach, who sparked a craze in 1964 that ultimately transformed the neighborhood. Her story here initially seems a lighthearted one. The dainty, energetic, go-go-dancing cocktail waitress first bared her breasts at the Condor by wearing the most preposterous swimsuit in history — designer Rudi Gernreich’s \u003ca href=\"https://us.rudigernreich.com/products/monokini\">monokini\u003c/a>. Prior to that, nightclub dancers always covered their nipples with burlesque-style pasties.\u003c/p>\n\u003cp>Doda was such an instant sensation that topless novelty acts quickly emerged all over North Beach. Other bars scrambled to keep up with the Condor, introducing their own spins on Doda’s act. (The topless band at Tipsy’s is a particular highlight here. As is Judy Mamou, the dancer who incorporated snakes and a monkey into her routine.) Soon the entire neighborhood had topless fever; a menswear store opened with topless assistants, along with a topless shoeshine stand. (Those last two proved to be a step too far for local authorities.)\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/tTITyLpW9nI'\n title='//www.youtube.com/embed/tTITyLpW9nI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That, unfortunately, is right about where the fun ends. \u003cem>Topless at the Condor\u003c/em> reveals that Doda was the product of childhood neglect and an abusive early marriage. Doda also apparently had two children during that marriage — a fact that comes up almost as an aside towards the end of the movie. (\u003cem>Topless at the Condor\u003c/em> would have benefited from more on that topic.) Doda spent her life desperately seeking love wherever she could find it — and her audience was the most immediate and consistent source. That emotional reliance on the limelight, paired with a dearth of other job options ultimately left Doda overworked and underpaid. Though her likeness graced the Condor’s sign for decades, the club’s owners cruelly locked her out of any revenue shares.\u003c/p>\n\u003cp>Even bleaker, it was the Condor’s publicist Davey Rosenberg who first encouraged Doda — a naturally very small-chested woman — to get silicon injections. Though she spent her life making jokes about the largeness of her enhanced assets, behind the scenes, the injections caused Doda lifelong pain, as well as \u003ca href=\"https://www.hopkinsmedicine.org/health/conditions-and-diseases/goodpasture-syndrome\">the disease that ultimately killed her\u003c/a> in 2015. (A rival topless dancer interviewed in the film followed Doda’s lead, had her breasts pumped full of silicon and lost both of them at the age of 30 after developing gangrene.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_10755111",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Though \u003cem>Topless at the Condor\u003c/em> does its best to explore whether Doda’s decision to take it all off could be considered a feminist act, the issue is far too complex for the film’s soundbites. Within Doda’s story, there are seeds of joy: bold women exercising the freedom to show off whatever body parts they wanted. The film attempts to draw a parallel between second-wave feminists who burned their bras and Doda’s decision to free her nipples. But this point is a stretch, at best. \u003c/p>\n\u003cp>In another line of argument, the film weighs dancers’ individual financial gains against the collective effects of normalized objectification. Unfortunately, despite some solid input from commentators like Wednesday Martin and Florence Williams, there simply isn’t enough time here to effectively unpack questions of empowerment and exploitation.\u003c/p>\n\u003cp>What the film does more successfully is transport the audience back to the sights, sounds, lights and music of 1960s North Beach. \u003ca href=\"https://www.kqed.org/arts/13936538/sly-stone-memoir-autobiography-thank-you-ben-greenman-questlove-funk\">Sly Stone\u003c/a>’s history in the neighborhood is a welcome addition to the narrative, as is the music of Teddy & George. The documentary is also outstanding when it comes to exploring Doda’s moxie, personal motivations and drive to survive. Some of the nuggets uncovered here about Doda’s later life — like the fact that she performed with a metal band at the DNA Lounge in the 1980s — are captivating. Any time interview footage of Doda is used, her charisma and complexity shine through.\u003c/p>\n\u003cp>Doda was a product of her time and circumstances and she paid dearly for both her boundary-pushing and endearing, devil-may-care attitude. The film works hard over its 100 minutes to pay Doda her dues and immortalize her life and legacy in a meaningful way. But, like so many who flocked to North Beach in the ’60s in search of a good time, viewers of \u003cem>Carol Doda: Topless at the Condor\u003c/em> might be surprised to find out just how much grime was lurking underneath all of that glitz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Carol Doda: Topless at the Condor’ opens at San Francisco’s \u003ca href=\"https://roxie.com/film/carol-doda-topless-at-the-condor/\">Roxie Theater\u003c/a> (3117 16th St.) and San Rafael’s \u003ca href=\"https://rafaelfilm.cafilm.org/carol-doda-topless-at-the-condor/\">Smith Rafael Film Center\u003c/a> (1118 4th St.) on March 22, 2024. The documentary expands to screens nationwide on March 29.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862",
"arts_74",
"arts_75"
],
"tags": [
"arts_13672",
"arts_10342",
"arts_5732",
"arts_769",
"arts_1146",
"arts_585"
],
"featImg": "arts_13953252",
"label": "arts_140"
},
"arts_13954121": {
"type": "posts",
"id": "arts_13954121",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13954121",
"score": null,
"sort": [
1710518401000
]
},
"guestAuthors": [],
"slug": "larry-the-musical-brava-theater-larry-itliong-filipino-labor-organizer",
"title": "A Labor Leader’s Legacy Is Set in Song With ‘Larry the Musical’",
"publishDate": 1710518401,
"format": "standard",
"headTitle": "A Labor Leader’s Legacy Is Set in Song With ‘Larry the Musical’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>In California labor history lessons, the names Cesar Chavez and Dolores Huerta are well known. Less taught, however, is the name of Larry Itliong, an influential Filipino labor organizer. A new stage production called \u003ca href=\"https://www.larrythemusical.com/\">\u003ci>Larry the Musical: An American Journey\u003c/i>\u003c/a>, which begins previews on March 16 and opens March 23 at the Brava Theater in San Francisco, hopes to change that.\u003c/p>\n\u003cp>“You must talk about the Filipino contribution when you talk about the farm labor movement,” says Gayle Romasanta, writer and executive producer of \u003ci>Larry the Musical\u003c/i> and co-author of the book \u003ca href=\"https://www.bridgedelta.com/purchase/journey-for-justice-the-life-of-larry-itliong\">\u003ci>Journey for Justice: The Life of Larry Itliong\u003c/i>\u003c/a> with late historian Dawn Mabalon.\u003c/p>\n\u003cfigure id=\"attachment_13954123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954123\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-800x534.jpg\" alt=\"Women in casual clothes sit in folder changes in a row.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast members in ‘Larry the Musical’ in a scene for the song ‘Train.’ \u003ccite>(Joseph Gabriel Ilustrisimo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most notably, Romasanta says, you must talk about how Itliong and Filipino farm workers initiated the \u003ca href=\"https://www.nps.gov/articles/000/workers-united-the-delano-grape-strike-and-boycott.htm\">Delano Grape Strike\u003c/a> in 1965, which led to the launch of the United Farm Workers coalition, and brought Filipino workers, led by Itliong, and Mexican farm workers, led by Chavez and Huerta, together. But Romasanta says that activism by Filipino Americans during that time – and decades leading up to the strike – was often overlooked, both then and now.\u003c/p>\n\u003cp>“There was an anti-Asian sentiment in the media,” Romasanta says of coalition coverage. “It was a global campaign, but you didn’t see us. And in many of the murals today, you don’t see us.”\u003c/p>\n\u003cp>After publishing \u003ci>Journey for Justice\u003c/i> in 2018, Romasanta knew she wanted to bring Itliong’s story to life in other ways. After attending the Bay Area premiere of \u003ci>Allegiance\u003c/i>, a musical inspired by the life of Japanese American actor George Takei, she was spurred to action.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Most of the actors were Filipino, playing Japanese,” Romasanta says. “And we were thinking like, well, when is it our time? When can we actually do Broadway, but put our story in it? Larry Itliong’s story and the Filipino American community’s story.”\u003c/p>\n\u003cp>One of the Filipino actors in \u003ci>Allegiance\u003c/i> was \u003ca href=\"https://www.bryanpangilinan.com/\">Bryan Pangilinan\u003c/a>, a veteran in the Bay Area musical theater scene and a friend of Romasanta. Together, they started writing and composing the musical just before the pandemic hit. Now the show is hitting the stage, with a groundbreaking all-Filipino cast and creative team.\u003c/p>\n\u003cfigure id=\"attachment_13954124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954124\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-800x479.jpg\" alt=\"A group photos of many Filipino men and women on a stage.\" width=\"800\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1020x610.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1536x919.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1920x1148.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage.jpg 1956w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast and creative team members for ‘Larry the Musical’ on stage at the Brava Theater in San Francisco. \u003ccite>(Joseph Gabriel Ilustrisimo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The musical includes songs with titles like “Watsonville & Stockton,” about \u003ca href=\"https://calendar.eji.org/racial-injustice/jan/19\">the violence Filipinos faced\u003c/a> in the 1930s at the hands of white mobs, and “Solidarity Forever, Unity Always,” about the challenge of overcoming efforts from white growers to divide and conquer Filipino and Mexican farm workers fighting for workers’ rights.\u003c/p>\n\u003cp>“I honestly have to pinch myself a lot. Sometimes I can’t believe that we’re doing this,” says Pangilinan, who also executive produced alongside Romasanta. “I’m so excited to have the opportunity to infuse [song elements] that we grew up with and be unapologetically Filipino in the music.”\u003c/p>\n\u003cp>To co-compose the music, Pangilinan collaborated with another longtime Filipino artist in the Bay Area theater scene, \u003ca href=\"https://www.seankana.com/\">Sean Kana\u003c/a>. Kana, who also serves as music director, says audiences can look forward to a lot of musical styles reflecting Filipino culture.\u003c/p>\n\u003cp>“You’re going to hear pop, you’re going to hear jazz, you’re going to hear folk, you’re going to hear tango,” says Kana. “Which is all reminiscent of Filipino pop music. It’s a big mixtape.”\u003c/p>\n\u003cp>Hand in hand, the mixtape-style musical delivers a timely message about the fight for equal rights and the hard work of building solidarity to grow a movement for social change.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Larry the Musical: An American Journey’ runs from March 15 to April 14 at the Brava Theater (2781 24th St., San Francisco). \u003ca href=\"https://www.larrythemusical.com/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The new musical at Brava Theater, with an all-Filipino cast and creative team, honors organizer Larry Itliong.",
"status": "publish",
"parent": 0,
"modified": 1726700545,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 685
},
"headData": {
"title": "‘Larry the Musical’ Sets a Labor Leader’s Story to Song | KQED",
"description": "The new musical at Brava Theater, with an all-Filipino cast and creative team, honors organizer Larry Itliong.",
"ogTitle": "A Labor Leader’s Legacy Is Set in Song With ‘Larry the Musical’",
"ogDescription": "",
"ogImgId": "",
"twTitle": "A Labor Leader’s Legacy Is Set in Song With ‘Larry the Musical’",
"twDescription": "",
"twImgId": "",
"socialTitle": "‘Larry the Musical’ Sets a Labor Leader’s Story to Song %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Labor Leader’s Legacy Is Set in Song With ‘Larry the Musical’",
"datePublished": "2024-03-15T09:00:01-07:00",
"dateModified": "2024-09-18T16:02:25-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/069f329f-1876-4340-b7d1-b1340101f5d3/audio.mp3",
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13954121/larry-the-musical-brava-theater-larry-itliong-filipino-labor-organizer",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In California labor history lessons, the names Cesar Chavez and Dolores Huerta are well known. Less taught, however, is the name of Larry Itliong, an influential Filipino labor organizer. A new stage production called \u003ca href=\"https://www.larrythemusical.com/\">\u003ci>Larry the Musical: An American Journey\u003c/i>\u003c/a>, which begins previews on March 16 and opens March 23 at the Brava Theater in San Francisco, hopes to change that.\u003c/p>\n\u003cp>“You must talk about the Filipino contribution when you talk about the farm labor movement,” says Gayle Romasanta, writer and executive producer of \u003ci>Larry the Musical\u003c/i> and co-author of the book \u003ca href=\"https://www.bridgedelta.com/purchase/journey-for-justice-the-life-of-larry-itliong\">\u003ci>Journey for Justice: The Life of Larry Itliong\u003c/i>\u003c/a> with late historian Dawn Mabalon.\u003c/p>\n\u003cfigure id=\"attachment_13954123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954123\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-800x534.jpg\" alt=\"Women in casual clothes sit in folder changes in a row.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Rehearsal_Cast-on-Stage-2-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast members in ‘Larry the Musical’ in a scene for the song ‘Train.’ \u003ccite>(Joseph Gabriel Ilustrisimo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most notably, Romasanta says, you must talk about how Itliong and Filipino farm workers initiated the \u003ca href=\"https://www.nps.gov/articles/000/workers-united-the-delano-grape-strike-and-boycott.htm\">Delano Grape Strike\u003c/a> in 1965, which led to the launch of the United Farm Workers coalition, and brought Filipino workers, led by Itliong, and Mexican farm workers, led by Chavez and Huerta, together. But Romasanta says that activism by Filipino Americans during that time – and decades leading up to the strike – was often overlooked, both then and now.\u003c/p>\n\u003cp>“There was an anti-Asian sentiment in the media,” Romasanta says of coalition coverage. “It was a global campaign, but you didn’t see us. And in many of the murals today, you don’t see us.”\u003c/p>\n\u003cp>After publishing \u003ci>Journey for Justice\u003c/i> in 2018, Romasanta knew she wanted to bring Itliong’s story to life in other ways. After attending the Bay Area premiere of \u003ci>Allegiance\u003c/i>, a musical inspired by the life of Japanese American actor George Takei, she was spurred to action.\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>“Most of the actors were Filipino, playing Japanese,” Romasanta says. “And we were thinking like, well, when is it our time? When can we actually do Broadway, but put our story in it? Larry Itliong’s story and the Filipino American community’s story.”\u003c/p>\n\u003cp>One of the Filipino actors in \u003ci>Allegiance\u003c/i> was \u003ca href=\"https://www.bryanpangilinan.com/\">Bryan Pangilinan\u003c/a>, a veteran in the Bay Area musical theater scene and a friend of Romasanta. Together, they started writing and composing the musical just before the pandemic hit. Now the show is hitting the stage, with a groundbreaking all-Filipino cast and creative team.\u003c/p>\n\u003cfigure id=\"attachment_13954124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13954124\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-800x479.jpg\" alt=\"A group photos of many Filipino men and women on a stage.\" width=\"800\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1020x610.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1536x919.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage-1920x1148.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Larry-the-Musical_Cast-Team-On-Stage.jpg 1956w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast and creative team members for ‘Larry the Musical’ on stage at the Brava Theater in San Francisco. \u003ccite>(Joseph Gabriel Ilustrisimo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The musical includes songs with titles like “Watsonville & Stockton,” about \u003ca href=\"https://calendar.eji.org/racial-injustice/jan/19\">the violence Filipinos faced\u003c/a> in the 1930s at the hands of white mobs, and “Solidarity Forever, Unity Always,” about the challenge of overcoming efforts from white growers to divide and conquer Filipino and Mexican farm workers fighting for workers’ rights.\u003c/p>\n\u003cp>“I honestly have to pinch myself a lot. Sometimes I can’t believe that we’re doing this,” says Pangilinan, who also executive produced alongside Romasanta. “I’m so excited to have the opportunity to infuse [song elements] that we grew up with and be unapologetically Filipino in the music.”\u003c/p>\n\u003cp>To co-compose the music, Pangilinan collaborated with another longtime Filipino artist in the Bay Area theater scene, \u003ca href=\"https://www.seankana.com/\">Sean Kana\u003c/a>. Kana, who also serves as music director, says audiences can look forward to a lot of musical styles reflecting Filipino culture.\u003c/p>\n\u003cp>“You’re going to hear pop, you’re going to hear jazz, you’re going to hear folk, you’re going to hear tango,” says Kana. “Which is all reminiscent of Filipino pop music. It’s a big mixtape.”\u003c/p>\n\u003cp>Hand in hand, the mixtape-style musical delivers a timely message about the fight for equal rights and the hard work of building solidarity to grow a movement for social change.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Larry the Musical: An American Journey’ runs from March 15 to April 14 at the Brava Theater (2781 24th St., San Francisco). \u003ca href=\"https://www.larrythemusical.com/\">Find tickets and more information here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13954121/larry-the-musical-brava-theater-larry-itliong-filipino-labor-organizer",
"authors": [
"11296"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862",
"arts_967"
],
"tags": [
"arts_10278",
"arts_2855",
"arts_2639",
"arts_13825",
"arts_585"
],
"featImg": "arts_13954122",
"label": "arts_140"
},
"arts_13954052": {
"type": "posts",
"id": "arts_13954052",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13954052",
"score": null,
"sort": [
1710463431000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1710463431,
"format": "standard",
"title": "‘Manhunt’ Is a Gripping (Albeit Embellished) Take on Lincoln’s Assassination",
"headTitle": "‘Manhunt’ Is a Gripping (Albeit Embellished) Take on Lincoln’s Assassination | KQED",
"content": "\u003cp>We all know the basics of President Abraham Lincoln’s assassination. In a Washington, D.C. theater 159 years ago, Lincoln was shot in the back of the head by actor John Wilkes Booth, while Lincoln was watching \u003cem>Our American Cousin\u003c/em> with his wife. As with so many major events from history the murder has, over time, merely become part of our national story — more and more devoid of emotional heft as time ticks along.\u003c/p>\n\u003cp>A new seven-part series from Apple TV+ now aims to change that, vividly taking us back to the murder, the political chaos that followed and, most importantly, the 12-day-long chase that culminated in the death of Booth and the trial of (some of) his co-conspirators. Despite a winding storyline and an overuse of time jumps, \u003cem>Manhunt\u003c/em> somehow succeeds in being consistently gripping. The series plays out like a crime thriller, only one full of people whose names we might already know.\u003c/p>\n\u003cp>[aside postid='arts_13951349']At the center of the story is Lincoln’s secretary of war, Edwin Stanton (Tobias Menzies). Stanton puts his own health and personal life at risk as he relentlessly pursues Booth (played by a convincingly petulant Anthony Boyle), while also trying to enact Lincoln’s final political wishes. We enter meetings with the likes of Frederick Douglass (Elvis Nolasco) and President Andrew Johnson (Glenn Morshower). We get to know the determined man in charge of the hunt for Booth, detective Lafayette Baker (Patton Oswald). We even see questions raised about \u003ca href=\"https://www.cnn.com/2016/07/06/health/mary-todd-lincoln-pernicious-anemia/index.html\">the mental health of Mary Todd Lincoln\u003c/a> and her ability to look after herself as a widow.\u003c/p>\n\u003cp>\u003cem>Manhunt\u003c/em> offers an engrossing education about American life during the Civil War and after the assassination. That goes for the famous people at the center of the story, and those unknowns operating on the ground around them. However, as with so many dramatizations of true stories (see also: \u003cem>The Crown\u003c/em> — coincidentally also starring Menzies), \u003cem>Manhunt\u003c/em> intermingles true events with some flagrant embellishments.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VFT-b8eKdSo&t=7s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One particularly troubling scene has Stanton burning pages from Booth’s diary. What happened to the diary’s missing pages has long been the subject of \u003ca href=\"https://en.wikipedia.org/wiki/Otto_Eisenschiml\">conjecture and conspiracy theory\u003c/a>. \u003cem>Manhunt\u003c/em> makes the bold choice to lay the responsibility at Stanton’s feet even though, in reality, the diary changed hands several times and no definitive answer has ever emerged about what really happened to those pages.\u003c/p>\n\u003cp>[aside postid='arts_13952433']Where \u003cem>Manhunt\u003c/em> truly takes on a life of its own is in its depiction of Mary Simms (Lovie Simone). It is true that the real-life Simms and her brother were enslaved by Samuel Mudd — the doctor who briefly housed Booth and treated the assassin’s broken leg. It is also true that Simms, in an extraordinarily brave move, testified against Mudd at his much-publicized trial.\u003c/p>\n\u003cp>Simms is central to some of the show’s most enthralling storylines. We see her kidnapped as a child and enslaved by Mudd. At the end of the war, she escapes Mudd’s home and starts teaching local Black children how to read and write. After the land granted to her at the end of the Civil War is reclaimed by Johnson’s government, she is forced to return to Mudd’s house. Crucially, in the show, we also see her directly interacting with Booth while he’s on the run, and with Stanton before and after the trial.\u003c/p>\n\u003cp>Disappointingly, there is no evidence that any of this actually happened.\u003c/p>\n\u003cfigure id=\"attachment_13954156\" class=\"wp-caption aligncenter\" style=\"max-width: 1606px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM.png\" alt=\"A Black woman wearing a bonnet and carrying a basket walks through the woods with a Black man who is carrying a sack and wearing period clothing from the 1860s.\" width=\"1606\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM.png 1606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-1536x974.png 1536w\" sizes=\"(max-width: 1606px) 100vw, 1606px\">\u003cfigcaption class=\"wp-caption-text\">Lovie Simone as Mary Simms and Antonio J. Bell as Milo Simms in ‘Manhunt.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As far as I can tell from the scant documentation that exists around Simms, in reality she was enslaved by Mudd for four years and escaped from his home in 1864, before Booth was ever on the property. During his trial, Simms testified that Mudd was a Southern sympathizer, protected Confederate soldiers at his home and was friends with John Surratt (another man accused of being a Booth co-conspirator). Simms also testified that Mudd said “he would have killed” Lincoln, given the opportunity. That’s about all we know about her for sure.\u003c/p>\n\u003cp>[aside postid='arts_13881675']So enamored was I with Simms’ story (as told by \u003cem>Manhunt\u003c/em>) that this entire review was originally going to center on introducing this little-known but important historical figure. Instead, Simms’ storyline is a reflection of the well-intentioned ways that \u003cem>Manhunt\u003c/em> can be misleading. People who worked on the show have since confirmed that Simms “\u003ca href=\"https://apnews.com/article/manhunt-abraham-lincoln-assassination-john-wilkes-booth-8611ad4c3c1029365ab6243cfcfab725\">was written as a composite\u003c/a>” of multiple people involved in the conviction of Booth’s co-conspirators. The version of Simms we see in the show was intended “to bring some of these heroes to light.”\u003c/p>\n\u003cp>Given how little documentation the lives of individual enslaved people inspired at the time, embellishing Simms’ backstory in order to bring her role in the trial to the forefront is an understandable choice. That being said, audiences would benefit from a note about \u003cem>Manhunt\u003c/em>’s use of artistic license at the top of each episode.\u003c/p>\n\u003cp>As an overview of the events and politics of the time, \u003cem>Manhunt\u003c/em> is undoubtedly useful. That a story with so many moving, conflicting, complex parts succeeds in being relatively easy to follow makes it something of a triumph. But it’s also important, in the midst of watching this entertaining, extremely convincing rendition of reality, to not take its word as gospel. Take it instead as a conduit for further investigation. You might be surprised by what you find out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Manhunt’ airs on Apple TV+ starting from March 15, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 974,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1710491598,
"excerpt": "Apple TV+’s new seven-episode series turns Abraham Lincoln’s assassination into an enthralling crime thriller. ",
"headData": {
"twImgId": "",
"twTitle": "‘Manhunt’ Is a Gripping (Albeit Embellished) Take on Lincoln’s Assassination",
"socialTitle": "‘Manhunt’ Review: Apple TV+ Series Is Gripping But Not All True%%page%% %%sep%% KQED",
"ogTitle": "‘Manhunt’ Is a Gripping (Albeit Embellished) Take on Lincoln’s Assassination",
"ogImgId": "",
"twDescription": "",
"description": "Apple TV+’s new seven-episode series turns Abraham Lincoln’s assassination into an enthralling crime thriller. ",
"title": "‘Manhunt’ Review: Apple TV+ Series Is Gripping But Not All True | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Manhunt’ Is a Gripping (Albeit Embellished) Take on Lincoln’s Assassination",
"datePublished": "2024-03-14T17:43:51-07:00",
"dateModified": "2024-03-15T01:33:18-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "abraham-lincoln-assassination-plot-apple-tv-show-review-mary-simms",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13954052/abraham-lincoln-assassination-plot-apple-tv-show-review-mary-simms",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We all know the basics of President Abraham Lincoln’s assassination. In a Washington, D.C. theater 159 years ago, Lincoln was shot in the back of the head by actor John Wilkes Booth, while Lincoln was watching \u003cem>Our American Cousin\u003c/em> with his wife. As with so many major events from history the murder has, over time, merely become part of our national story — more and more devoid of emotional heft as time ticks along.\u003c/p>\n\u003cp>A new seven-part series from Apple TV+ now aims to change that, vividly taking us back to the murder, the political chaos that followed and, most importantly, the 12-day-long chase that culminated in the death of Booth and the trial of (some of) his co-conspirators. Despite a winding storyline and an overuse of time jumps, \u003cem>Manhunt\u003c/em> somehow succeeds in being consistently gripping. The series plays out like a crime thriller, only one full of people whose names we might already know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13951349",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>At the center of the story is Lincoln’s secretary of war, Edwin Stanton (Tobias Menzies). Stanton puts his own health and personal life at risk as he relentlessly pursues Booth (played by a convincingly petulant Anthony Boyle), while also trying to enact Lincoln’s final political wishes. We enter meetings with the likes of Frederick Douglass (Elvis Nolasco) and President Andrew Johnson (Glenn Morshower). We get to know the determined man in charge of the hunt for Booth, detective Lafayette Baker (Patton Oswald). We even see questions raised about \u003ca href=\"https://www.cnn.com/2016/07/06/health/mary-todd-lincoln-pernicious-anemia/index.html\">the mental health of Mary Todd Lincoln\u003c/a> and her ability to look after herself as a widow.\u003c/p>\n\u003cp>\u003cem>Manhunt\u003c/em> offers an engrossing education about American life during the Civil War and after the assassination. That goes for the famous people at the center of the story, and those unknowns operating on the ground around them. However, as with so many dramatizations of true stories (see also: \u003cem>The Crown\u003c/em> — coincidentally also starring Menzies), \u003cem>Manhunt\u003c/em> intermingles true events with some flagrant embellishments.\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/VFT-b8eKdSo'\n title='//www.youtube.com/embed/VFT-b8eKdSo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One particularly troubling scene has Stanton burning pages from Booth’s diary. What happened to the diary’s missing pages has long been the subject of \u003ca href=\"https://en.wikipedia.org/wiki/Otto_Eisenschiml\">conjecture and conspiracy theory\u003c/a>. \u003cem>Manhunt\u003c/em> makes the bold choice to lay the responsibility at Stanton’s feet even though, in reality, the diary changed hands several times and no definitive answer has ever emerged about what really happened to those pages.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13952433",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Where \u003cem>Manhunt\u003c/em> truly takes on a life of its own is in its depiction of Mary Simms (Lovie Simone). It is true that the real-life Simms and her brother were enslaved by Samuel Mudd — the doctor who briefly housed Booth and treated the assassin’s broken leg. It is also true that Simms, in an extraordinarily brave move, testified against Mudd at his much-publicized trial.\u003c/p>\n\u003cp>Simms is central to some of the show’s most enthralling storylines. We see her kidnapped as a child and enslaved by Mudd. At the end of the war, she escapes Mudd’s home and starts teaching local Black children how to read and write. After the land granted to her at the end of the Civil War is reclaimed by Johnson’s government, she is forced to return to Mudd’s house. Crucially, in the show, we also see her directly interacting with Booth while he’s on the run, and with Stanton before and after the trial.\u003c/p>\n\u003cp>Disappointingly, there is no evidence that any of this actually happened.\u003c/p>\n\u003cfigure id=\"attachment_13954156\" class=\"wp-caption aligncenter\" style=\"max-width: 1606px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM.png\" alt=\"A Black woman wearing a bonnet and carrying a basket walks through the woods with a Black man who is carrying a sack and wearing period clothing from the 1860s.\" width=\"1606\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM.png 1606w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screen-Shot-2024-03-14-at-4.06.39-PM-1536x974.png 1536w\" sizes=\"(max-width: 1606px) 100vw, 1606px\">\u003cfigcaption class=\"wp-caption-text\">Lovie Simone as Mary Simms and Antonio J. Bell as Milo Simms in ‘Manhunt.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As far as I can tell from the scant documentation that exists around Simms, in reality she was enslaved by Mudd for four years and escaped from his home in 1864, before Booth was ever on the property. During his trial, Simms testified that Mudd was a Southern sympathizer, protected Confederate soldiers at his home and was friends with John Surratt (another man accused of being a Booth co-conspirator). Simms also testified that Mudd said “he would have killed” Lincoln, given the opportunity. That’s about all we know about her for sure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13881675",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>So enamored was I with Simms’ story (as told by \u003cem>Manhunt\u003c/em>) that this entire review was originally going to center on introducing this little-known but important historical figure. Instead, Simms’ storyline is a reflection of the well-intentioned ways that \u003cem>Manhunt\u003c/em> can be misleading. People who worked on the show have since confirmed that Simms “\u003ca href=\"https://apnews.com/article/manhunt-abraham-lincoln-assassination-john-wilkes-booth-8611ad4c3c1029365ab6243cfcfab725\">was written as a composite\u003c/a>” of multiple people involved in the conviction of Booth’s co-conspirators. The version of Simms we see in the show was intended “to bring some of these heroes to light.”\u003c/p>\n\u003cp>Given how little documentation the lives of individual enslaved people inspired at the time, embellishing Simms’ backstory in order to bring her role in the trial to the forefront is an understandable choice. That being said, audiences would benefit from a note about \u003cem>Manhunt\u003c/em>’s use of artistic license at the top of each episode.\u003c/p>\n\u003cp>As an overview of the events and politics of the time, \u003cem>Manhunt\u003c/em> is undoubtedly useful. That a story with so many moving, conflicting, complex parts succeeds in being relatively easy to follow makes it something of a triumph. But it’s also important, in the midst of watching this entertaining, extremely convincing rendition of reality, to not take its word as gospel. Take it instead as a conduit for further investigation. You might be surprised by what you find out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Manhunt’ airs on Apple TV+ starting from March 15, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13954052/abraham-lincoln-assassination-plot-apple-tv-show-review-mary-simms",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862",
"arts_75",
"arts_990"
],
"tags": [
"arts_9222",
"arts_22015",
"arts_769",
"arts_585"
],
"featImg": "arts_13954157",
"label": "arts_140"
},
"arts_13954104": {
"type": "posts",
"id": "arts_13954104",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13954104",
"score": null,
"sort": [
1710442697000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1710442697,
"format": "standard",
"title": "Anthony Hopkins, Johnny Flynn Find Poignant Synergy in Real-Life War Tale ‘One Life’",
"headTitle": "Anthony Hopkins, Johnny Flynn Find Poignant Synergy in Real-Life War Tale ‘One Life’ | KQED",
"content": "\u003cp>By the time Nicholas Winton died in 2015 at the ripe age of 106, the former London stockbroker and self-proclaimed “ordinary man” had been widely recognized for his extraordinary deeds — rescuing 669 Jewish children from the Nazis, saving them from certain death.\u003c/p>\n\u003cp>But for most of his life, Winton’s rescue of those children from Czechoslovakia on the eve of World War II, bringing them to safety in Britain, was unknown to the public. His story was revealed dramatically on the BBC show \u003cem>That’s Life!\u003c/em> in 1988, which introduced him, in an emotional surprise, to some of the very people he’d saved. Tears were shed and a fuss was made over this unfussy man. He was dubbed the “British Schindler,” and knighted by Queen Elizabeth II in 2003.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6_nFuJAF5F0\u003c/p>\n\u003cp>Even if you didn’t know Anthony Hopkins was starring in \u003cem>One Life\u003c/em>, the straightforward yet still moving new drama based on Winton’s tale, you’d be forgiven for assuming it the minute you learned Winton was a modest and quiet elderly man, keeping much to himself. Hopkins can play such a character in his sleep.\u003c/p>\n\u003cp>What he’s truly great at, though, is that moment when he finally lets the wall around him crumble and shows what he’s been feeling all along. Yes, this happens in \u003cem>One Life\u003c/em>, and yes, you’ll likely be wiping tears along with him. The emotional payoff takes a while to arrive, but once it does in the last act of this film, you’ll have a hard time forgetting Hopkins’ face.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Holocaust-themed movies are crucial but notoriously tricky ventures. At Sunday’s Oscars, Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em> was honored for a hugely inventive approach, illustrating the banality of Nazi evil in its chilling portrayal of an Auschwitz commandant’s family life right outside the camp wall. \u003cem>One Life\u003c/em>, directed with efficiency by James Hawes, takes a much more traditional approach, telling its story in flashback with dialogue that sometimes borders on the overly expository, but with a lovely cast and a story that begs to be told.\u003c/p>\n\u003cp>[aside postid='arts_13929913']Hopkins is the key draw, but Johnny Flynn, the talented actor-musician, has the difficult task of channeling Hopkins as a younger man (the filmmakers chose to shoot the Hopkins scenes first, so that Flynn could then build the connective tissue between the two, something he does admirably.) And it’s a lot more than 50 years that separate the two versions of Winton. It’s the war itself. The events with younger Winton took place in 1939, as the Nazis were marching across Europe but two years before they began implementing their so-called Final Solution, the mass murder of European Jews. The elder Winton knew exactly what became of all those children he couldn’t bring to safety, and you can see it in his eyes here.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P9G-PA1oMPI\u003c/p>\n\u003cp>We first meet the elder Winton at home in Maidenhead, a town in southeast England. It’s 1987, and he’s staring at faded photos of children from the war. He spends his days involved in local charity work. He can’t seem to get rid of all the clutter in his study, despite the pleadings of his wife, Grete (Lena Olin), who tells him: “You have to let go, for your own sake.” He’s still trying to figure out what to do with a frayed leather briefcase, which contains a precious scrapbook full of war memories.\u003c/p>\n\u003cp>[aside postid='arts_13953524']We flash back to 1939 London, when 29-year-old Nicky, as he’s known, who is of Jewish descent but has been raised as a Christian, resolves to leave the comfortable home he lives in with his mother, Babi (Helena Bonham Carter), to travel to Prague. He aims to help with the growing crisis caused by the influx of refugees from the Sudetenland region just annexed by Germany; he and others fear (correctly) that the Nazis will soon invade and send the Jewish refugees to camps.\u003c/p>\n\u003cp>In Prague, he finds desperate families and starving children, like a 12-year-old girl caring for an infant who has lost its parents. “We have to move the children,” he tells his colleagues. They say the task is too daunting. He persists, convincing a local rabbi to give him lists of children to begin the process (“I’m putting their lives in your hands,” the rabbi tells him.) Upon his return to London, aided by his spirited mother, he embarks on a furious race against time and government bureaucracy to obtain visas for the children and raise awareness in the media. “The process takes time,” an official says. “We don’t have time,” he replies.\u003c/p>\n\u003cp>Somehow, he manages to get the transports going, meeting the trains in London, where children are matched with foster families. (The most moving scenes in the film, until the emotional crescendo at the end, are departure scenes in Prague, with children saying goodbye to parents who must surely sense they’ll never see them again).\u003c/p>\n\u003cp>[aside postid='arts_13953601']As the film toggles between 1939 and 1987-88, we learn that Winton managed to get eight trains of children out but not a ninth, with 250 children who were turned back once the Nazis invaded, a loss he keeps buried inside. That is, until he meets a Holocaust researcher who happens to be married to news magnate Robert Maxwell.\u003c/p>\n\u003cp>That meeting ultimately leads to the climax in the television studio, faithfully recreated by Hawes, who actually once worked on that very BBC show. The scene is doubly poignant given the knowledge that some of the background actors in the studio that day were actual family members of those Winton saved. “There was not a dry eye on the set floor,” the director has said.\u003c/p>\n\u003cp>That’s not difficult to believe.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘One Life’ is released nationwide on March 15, 2024.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1047,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1710442697,
"excerpt": "A new movie memorializes Nicholas Winton, a British man who rescued 669 Jewish children from the Nazis in 1939.",
"headData": {
"twImgId": "",
"twTitle": "",
"socialTitle": "‘One Life’ Review: Anthony Hopkins’ Biopic of Sir Nicholas Winton%%page%% %%sep%% KQED",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A new movie memorializes Nicholas Winton, a British man who rescued 669 Jewish children from the Nazis in 1939.",
"title": "‘One Life’ Review: Anthony Hopkins’ Biopic of Sir Nicholas Winton | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Anthony Hopkins, Johnny Flynn Find Poignant Synergy in Real-Life War Tale ‘One Life’",
"datePublished": "2024-03-14T11:58:17-07:00",
"dateModified": "2024-03-14T11:58:17-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "anthony-hopkins-johnny-flynn-find-poignant-synergy-in-real-life-war-tale-one-life",
"status": "publish",
"templateType": "standard",
"nprByline": "Jocelyn Noveck, Associated Press",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13954104/anthony-hopkins-johnny-flynn-find-poignant-synergy-in-real-life-war-tale-one-life",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By the time Nicholas Winton died in 2015 at the ripe age of 106, the former London stockbroker and self-proclaimed “ordinary man” had been widely recognized for his extraordinary deeds — rescuing 669 Jewish children from the Nazis, saving them from certain death.\u003c/p>\n\u003cp>But for most of his life, Winton’s rescue of those children from Czechoslovakia on the eve of World War II, bringing them to safety in Britain, was unknown to the public. His story was revealed dramatically on the BBC show \u003cem>That’s Life!\u003c/em> in 1988, which introduced him, in an emotional surprise, to some of the very people he’d saved. Tears were shed and a fuss was made over this unfussy man. He was dubbed the “British Schindler,” and knighted by Queen Elizabeth II in 2003.\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/6_nFuJAF5F0'\n title='//www.youtube.com/embed/6_nFuJAF5F0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even if you didn’t know Anthony Hopkins was starring in \u003cem>One Life\u003c/em>, the straightforward yet still moving new drama based on Winton’s tale, you’d be forgiven for assuming it the minute you learned Winton was a modest and quiet elderly man, keeping much to himself. Hopkins can play such a character in his sleep.\u003c/p>\n\u003cp>What he’s truly great at, though, is that moment when he finally lets the wall around him crumble and shows what he’s been feeling all along. Yes, this happens in \u003cem>One Life\u003c/em>, and yes, you’ll likely be wiping tears along with him. The emotional payoff takes a while to arrive, but once it does in the last act of this film, you’ll have a hard time forgetting Hopkins’ face.\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>Holocaust-themed movies are crucial but notoriously tricky ventures. At Sunday’s Oscars, Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em> was honored for a hugely inventive approach, illustrating the banality of Nazi evil in its chilling portrayal of an Auschwitz commandant’s family life right outside the camp wall. \u003cem>One Life\u003c/em>, directed with efficiency by James Hawes, takes a much more traditional approach, telling its story in flashback with dialogue that sometimes borders on the overly expository, but with a lovely cast and a story that begs to be told.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13929913",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Hopkins is the key draw, but Johnny Flynn, the talented actor-musician, has the difficult task of channeling Hopkins as a younger man (the filmmakers chose to shoot the Hopkins scenes first, so that Flynn could then build the connective tissue between the two, something he does admirably.) And it’s a lot more than 50 years that separate the two versions of Winton. It’s the war itself. The events with younger Winton took place in 1939, as the Nazis were marching across Europe but two years before they began implementing their so-called Final Solution, the mass murder of European Jews. The elder Winton knew exactly what became of all those children he couldn’t bring to safety, and you can see it in his eyes here.\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/P9G-PA1oMPI'\n title='//www.youtube.com/embed/P9G-PA1oMPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We first meet the elder Winton at home in Maidenhead, a town in southeast England. It’s 1987, and he’s staring at faded photos of children from the war. He spends his days involved in local charity work. He can’t seem to get rid of all the clutter in his study, despite the pleadings of his wife, Grete (Lena Olin), who tells him: “You have to let go, for your own sake.” He’s still trying to figure out what to do with a frayed leather briefcase, which contains a precious scrapbook full of war memories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13953524",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>We flash back to 1939 London, when 29-year-old Nicky, as he’s known, who is of Jewish descent but has been raised as a Christian, resolves to leave the comfortable home he lives in with his mother, Babi (Helena Bonham Carter), to travel to Prague. He aims to help with the growing crisis caused by the influx of refugees from the Sudetenland region just annexed by Germany; he and others fear (correctly) that the Nazis will soon invade and send the Jewish refugees to camps.\u003c/p>\n\u003cp>In Prague, he finds desperate families and starving children, like a 12-year-old girl caring for an infant who has lost its parents. “We have to move the children,” he tells his colleagues. They say the task is too daunting. He persists, convincing a local rabbi to give him lists of children to begin the process (“I’m putting their lives in your hands,” the rabbi tells him.) Upon his return to London, aided by his spirited mother, he embarks on a furious race against time and government bureaucracy to obtain visas for the children and raise awareness in the media. “The process takes time,” an official says. “We don’t have time,” he replies.\u003c/p>\n\u003cp>Somehow, he manages to get the transports going, meeting the trains in London, where children are matched with foster families. (The most moving scenes in the film, until the emotional crescendo at the end, are departure scenes in Prague, with children saying goodbye to parents who must surely sense they’ll never see them again).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13953601",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>As the film toggles between 1939 and 1987-88, we learn that Winton managed to get eight trains of children out but not a ninth, with 250 children who were turned back once the Nazis invaded, a loss he keeps buried inside. That is, until he meets a Holocaust researcher who happens to be married to news magnate Robert Maxwell.\u003c/p>\n\u003cp>That meeting ultimately leads to the climax in the television studio, faithfully recreated by Hawes, who actually once worked on that very BBC show. The scene is doubly poignant given the knowledge that some of the background actors in the studio that day were actual family members of those Winton saved. “There was not a dry eye on the set floor,” the director has said.\u003c/p>\n\u003cp>That’s not difficult to believe.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘One Life’ is released nationwide on March 15, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13954104/anthony-hopkins-johnny-flynn-find-poignant-synergy-in-real-life-war-tale-one-life",
"authors": [
"byline_arts_13954104"
],
"categories": [
"arts_1",
"arts_7862",
"arts_74"
],
"tags": [
"arts_769",
"arts_585",
"arts_5292",
"arts_3038"
],
"featImg": "arts_13954105",
"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=history": {
"isFetching": false,
"latestQuery": {
"from": 132,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 392,
"relation": "eq"
},
"items": [
"arts_13958891",
"arts_13958468",
"arts_13958493",
"arts_13955066",
"arts_13957514",
"arts_13956202",
"arts_13954766",
"arts_13953890",
"arts_13953248",
"arts_13954121",
"arts_13954052",
"arts_13954104"
],
"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_history": {
"isLoading": true
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"source_arts_13955066": {
"type": "terms",
"id": "source_arts_13955066",
"meta": {
"override": true
},
"name": "Rebel Girls",
"link": "https://www.kqed.org/rebelgirls",
"isLoading": false
},
"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_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_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_7221": {
"type": "terms",
"id": "arts_7221",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7221",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sfpl",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sfpl Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7233,
"slug": "sfpl",
"isLoading": false,
"link": "/arts/tag/sfpl"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"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_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_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_5422": {
"type": "terms",
"id": "arts_5422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "television",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "television Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5434,
"slug": "television",
"isLoading": false,
"link": "/arts/tag/television"
},
"arts_22303": {
"type": "terms",
"id": "arts_22303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22303",
"found": true
},
"relationships": {},
"name": "Rebel Girls from Bay Area History",
"slug": "rebelgirls",
"taxonomy": "series",
"description": null,
"featImg": null,
"headData": {
"title": "Rebel Girls from Bay Area History | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22315,
"isLoading": false,
"link": "/arts/series/rebelgirls"
},
"arts_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"arts_22180": {
"type": "terms",
"id": "arts_22180",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22180",
"found": true
},
"relationships": {},
"name": "pride resources",
"slug": "pride-resources",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "pride resources Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22192,
"isLoading": false,
"link": "/arts/tag/pride-resources"
},
"arts_21841": {
"type": "terms",
"id": "arts_21841",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21841",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rebelgirls",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rebelgirls Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21853,
"slug": "rebelgirls",
"isLoading": false,
"link": "/arts/tag/rebelgirls"
},
"arts_8263": {
"type": "terms",
"id": "arts_8263",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8263",
"found": true
},
"relationships": {},
"featImg": null,
"name": "women's rights",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "women's rights Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8275,
"slug": "womens-rights",
"isLoading": false,
"link": "/arts/tag/womens-rights"
},
"arts_14353": {
"type": "terms",
"id": "arts_14353",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "14353",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bizarrebayarea",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bizarrebayarea Archives | KQED Arts",
"ogDescription": null
},
"ttid": 14365,
"slug": "bizarrebayarea",
"isLoading": false,
"link": "/arts/tag/bizarrebayarea"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_5779": {
"type": "terms",
"id": "arts_5779",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5779",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sacramento",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sacramento Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5791,
"slug": "sacramento",
"isLoading": false,
"link": "/arts/tag/sacramento"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_21860": {
"type": "terms",
"id": "arts_21860",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21860",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21872,
"slug": "oakland",
"isLoading": false,
"link": "/arts/interest/oakland"
},
"arts_15443": {
"type": "terms",
"id": "arts_15443",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15443",
"found": true
},
"relationships": {},
"featImg": null,
"name": "beer",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "beer Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15455,
"slug": "beer",
"isLoading": false,
"link": "/arts/tag/beer"
},
"arts_2721": {
"type": "terms",
"id": "arts_2721",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2721",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Santa Rosa",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Santa Rosa Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2733,
"slug": "santa-rosa",
"isLoading": false,
"link": "/arts/tag/santa-rosa"
},
"arts_3217": {
"type": "terms",
"id": "arts_3217",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3217",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sonoma county",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sonoma county Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3229,
"slug": "sonoma-county",
"isLoading": false,
"link": "/arts/tag/sonoma-county"
},
"arts_21873": {
"type": "terms",
"id": "arts_21873",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21873",
"found": true
},
"relationships": {},
"featImg": null,
"name": "North Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "North Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21885,
"slug": "north-bay",
"isLoading": false,
"link": "/arts/interest/north-bay"
},
"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_22042": {
"type": "terms",
"id": "arts_22042",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22042",
"found": true
},
"relationships": {},
"featImg": null,
"name": "neon",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "neon Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22054,
"slug": "neon",
"isLoading": false,
"link": "/arts/tag/neon"
},
"arts_1020": {
"type": "terms",
"id": "arts_1020",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1020",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Tenderloin",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Tenderloin Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1037,
"slug": "tenderloin",
"isLoading": false,
"link": "/arts/tag/tenderloin"
},
"arts_21863": {
"type": "terms",
"id": "arts_21863",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21863",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21875,
"slug": "news",
"isLoading": false,
"link": "/arts/interest/news"
},
"arts_8366": {
"type": "terms",
"id": "arts_8366",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8366",
"found": true
},
"relationships": {},
"featImg": null,
"name": "true crime",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "true crime Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8378,
"slug": "true-crime",
"isLoading": false,
"link": "/arts/tag/true-crime"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_13672": {
"type": "terms",
"id": "arts_13672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13672",
"found": true
},
"relationships": {},
"name": "Documentaries",
"slug": "documentaries",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Documentaries | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13684,
"isLoading": false,
"link": "/arts/tag/documentaries"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_5732": {
"type": "terms",
"id": "arts_5732",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5732",
"found": true
},
"relationships": {},
"featImg": null,
"name": "north beach",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "north beach Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5744,
"slug": "north-beach",
"isLoading": false,
"link": "/arts/tag/north-beach"
},
"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_2855": {
"type": "terms",
"id": "arts_2855",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2855",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Filipino",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Filipino Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2867,
"slug": "filipino",
"isLoading": false,
"link": "/arts/tag/filipino"
},
"arts_2639": {
"type": "terms",
"id": "arts_2639",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2639",
"found": true
},
"relationships": {},
"featImg": null,
"name": "labor",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "labor Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2651,
"slug": "labor",
"isLoading": false,
"link": "/arts/tag/labor"
},
"arts_13825": {
"type": "terms",
"id": "arts_13825",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13825",
"found": true
},
"relationships": {},
"featImg": null,
"name": "musicals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "musicals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13837,
"slug": "musicals",
"isLoading": false,
"link": "/arts/tag/musicals"
},
"arts_9222": {
"type": "terms",
"id": "arts_9222",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9222",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Apple TV+",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Apple TV+ Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9234,
"slug": "apple-tv",
"isLoading": false,
"link": "/arts/tag/apple-tv"
},
"arts_22015": {
"type": "terms",
"id": "arts_22015",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22015",
"found": true
},
"relationships": {},
"featImg": null,
"name": "presidents",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "presidents Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22027,
"slug": "presidents",
"isLoading": false,
"link": "/arts/tag/presidents"
},
"arts_5292": {
"type": "terms",
"id": "arts_5292",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5292",
"found": true
},
"relationships": {},
"featImg": null,
"name": "uk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "uk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5304,
"slug": "uk",
"isLoading": false,
"link": "/arts/tag/uk"
},
"arts_3038": {
"type": "terms",
"id": "arts_3038",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3038",
"found": true
},
"relationships": {},
"featImg": null,
"name": "World War II",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "World War II Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3050,
"slug": "world-war-ii",
"isLoading": false,
"link": "/arts/tag/world-war-ii"
}
},
"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
}
}
