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_10306412": {
"type": "attachments",
"id": "arts_10306412",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10306412",
"found": true
},
"parent": 10306408,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/lead-art-bandaloop-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/lead-art-bandaloop-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/lead-art-bandaloop.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/lead-art-bandaloop-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/lead-art-bandaloop-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/lead-art-bandaloop-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/lead-art-bandaloop-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/01/lead-art-bandaloop-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1421373192,
"modified": 1449620737,
"caption": "Bandaloop dancers at Stinson Beach, California. ",
"description": "Bandaloop dancers at Stinson Beach, California. Photo by Vanessa Avery",
"title": "lead-art-bandaloop",
"credit": "Photo: Vanessa Avery",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10150155": {
"type": "attachments",
"id": "arts_10150155",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10150155",
"found": true
},
"parent": 10150034,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/11/Elbo-Room-Sign-400x224.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 224
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/11/Elbo-Room-Sign-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/11/Elbo-Room-Sign.jpg",
"width": 799,
"height": 449
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/11/Elbo-Room-Sign-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/11/Elbo-Room-Sign-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/11/Elbo-Room-Sign-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/11/Elbo-Room-Sign-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/11/Elbo-Room-Sign-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1416555012,
"modified": 1571428190,
"caption": "The Elbo Room Jack London is one of two venues hosting the controversial Never Surrender Festival.",
"description": "The Elbo Room Jack London is one of two venues hosting the controversial Never Surrender Festival.",
"title": "The Elbo Room Jack London is one of two venues hosting the controversial Never Surrender Festival.",
"credit": "Kevin L. Jones/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11141035": {
"type": "attachments",
"id": "arts_11141035",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11141035",
"found": true
},
"parent": 11141034,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DQOI-20-e1449448356207-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DQOI-20-e1449448356207-400x243.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 243
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DQOI-20-e1449448356207-960x582.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 582
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DQOI-20-e1449448356207-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DQOI-20-e1449448356207.jpg",
"width": 4816,
"height": 2921
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DQOI-20-e1449448356207-1180x716.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 716
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DQOI-20-e1449448356207-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DQOI-20-e1449448356207-800x485.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 485
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DQOI-20-e1449448356207-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DQOI-20-e1449448356207-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DQOI-20-e1449448356207-1920x1165.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1165
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DQOI-20-e1449448356207-1180x716.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 716
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DQOI-20-e1449448356207-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DQOI-20-e1449448356207-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449448294,
"modified": 1449448328,
"caption": "Drag Queens on Ice",
"description": "Drag Queens on Ice",
"title": "DQOI (20)",
"credit": "Photo: Jerry Yim",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11143654": {
"type": "attachments",
"id": "arts_11143654",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11143654",
"found": true
},
"parent": 11143285,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GrammyMAIN1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GrammyMAIN1-400x250.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 250
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GrammyMAIN1-960x600.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 600
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GrammyMAIN1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GrammyMAIN1.jpg",
"width": 1080,
"height": 675
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GrammyMAIN1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GrammyMAIN1-800x500.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 500
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GrammyMAIN1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GrammyMAIN1-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GrammyMAIN1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GrammyMAIN1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449528739,
"modified": 1449528753,
"caption": "Kehlani's 'You Should Be Here' was released by the Oakland singer as a free mixtape in April; it quickly shot to the Grammy nomination list.",
"description": "Kehlani's 'You Should Be Here' was released by the Oakland singer as a free mixtape in April; it quickly shot to the Grammy nomination list.",
"title": "GrammyMAIN1",
"credit": "Kehlani/Instagram",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"about_5752": {
"type": "attachments",
"id": "about_5752",
"meta": {
"index": "attachments_1716263798",
"site": "about",
"id": "5752",
"found": true
},
"parent": 5749,
"imgSizes": {
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2015/12/maceo-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2015/12/maceo-400x215.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 215
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2015/12/maceo.jpg",
"width": 550,
"height": 296
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2015/12/maceo-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2015/12/maceo-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2015/12/maceo-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2015/12/maceo-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/19/2015/12/maceo-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449511619,
"modified": 1449511619,
"caption": null,
"description": null,
"title": "maceo",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_19323": {
"type": "attachments",
"id": "pop_19323",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "19323",
"found": true
},
"parent": 19320,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/screen-shot-2015-12-07-at-9-31-05-am-e1449521192769-400x225.png",
"width": 400,
"mimeType": "image/png",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/screen-shot-2015-12-07-at-9-31-05-am-e1449521192769-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/screen-shot-2015-12-07-at-9-31-05-am-e1449521192769.png",
"width": 744,
"height": 418
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/screen-shot-2015-12-07-at-9-31-05-am-e1449521192769-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/screen-shot-2015-12-07-at-9-31-05-am-e1449521192769-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/screen-shot-2015-12-07-at-9-31-05-am-e1449521192769-75x75.png",
"width": 75,
"mimeType": "image/png",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/screen-shot-2015-12-07-at-9-31-05-am-e1449521192769-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/screen-shot-2015-12-07-at-9-31-05-am-e1449521192769-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
}
},
"publishDate": 1449521173,
"modified": 1449521173,
"caption": null,
"description": null,
"title": "screen-shot-2015-12-07-at-9-31-05-am",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10782424": {
"type": "attachments",
"id": "news_10782424",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10782424",
"found": true
},
"parent": 10782409,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/HanukkahCandles2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/HanukkahCandles2-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/HanukkahCandles2-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/HanukkahCandles2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/HanukkahCandles2.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/HanukkahCandles2-1440x960.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 960
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/HanukkahCandles2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/HanukkahCandles2-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/HanukkahCandles2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/HanukkahCandles2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/HanukkahCandles2-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/HanukkahCandles2-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/HanukkahCandles2-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/HanukkahCandles2-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/HanukkahCandles2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449272789,
"modified": 1449272806,
"caption": "Hanukkah candles",
"description": "Hanukkah candles",
"title": "HanukkahCandles2",
"credit": "Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11129415": {
"type": "attachments",
"id": "arts_11129415",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11129415",
"found": true
},
"parent": 11129413,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GunnChoir-e1449256653754-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GunnChoir-e1449256653754-400x237.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 237
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GunnChoir-e1449256653754-960x569.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 569
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GunnChoir-e1449256653754-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GunnChoir-e1449256673232.jpg",
"width": 1920,
"height": 1137
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GunnChoir-e1449256653754-1180x699.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 699
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GunnChoir-e1449256653754-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GunnChoir-e1449256653754-800x474.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 474
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GunnChoir-e1449256653754-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GunnChoir-e1449256653754-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GunnChoir-e1449256653754-1920x1137.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1137
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GunnChoir-e1449256653754-1180x699.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 699
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GunnChoir-e1449256653754-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GunnChoir-e1449256653754-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449106058,
"modified": 1449256685,
"caption": "Choir practice at Gunn High School in Palo Alto. \"It's a very inclusive program,\" says choir director Bill Liberatore. \"I don't see who I can weed out. If you want to sing, we'll find the right group for you. Everybody is welcome on the stage.\"",
"description": "Choir practice at Gunn High School in Palo Alto. \"It's a very inclusive program,\" says choir director Bill Liberatore. \"I don't see who I can weed out. If you want to sing, we'll find the right group for you. Everybody is welcome on the stage.\"",
"title": "GunnChoir",
"credit": "Photo: Rachael Myrow/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11132965": {
"type": "attachments",
"id": "arts_11132965",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11132965",
"found": true
},
"parent": 11132961,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/JanisJoplinMAIN-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/JanisJoplinMAIN-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/JanisJoplinMAIN.jpg",
"width": 700,
"height": 393
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/JanisJoplinMAIN-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/JanisJoplinMAIN-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/JanisJoplinMAIN-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/JanisJoplinMAIN-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/11/JanisJoplinMAIN-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449209438,
"modified": 1449209454,
"caption": "Janis Joplin smoking a cigarette in Denmark.",
"description": "Janis Joplin smoking a cigarette in Denmark.",
"title": "JanisJoplinMAIN",
"credit": " Jan Persson/Courtesy of Getty Images ",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11133092": {
"type": "attachments",
"id": "arts_11133092",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11133092",
"found": true
},
"parent": 11132967,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Scott-Weiland-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Scott-Weiland-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Scott-Weiland-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Scott-Weiland-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Scott-Weiland.jpg",
"width": 1325,
"height": 745
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Scott-Weiland-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Scott-Weiland-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Scott-Weiland-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Scott-Weiland-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Scott-Weiland-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Scott-Weiland-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Scott-Weiland-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Scott-Weiland-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449211089,
"modified": 1449211139,
"caption": "Musician Scott Weiland poses for a portrait during the 2015 Sundance Film Festival.",
"description": "Musician Scott Weiland poses for a portrait during the 2015 Sundance Film Festival.",
"title": "2015 Sundance Film Festival Portraits - Day 2",
"credit": "Photo: Larry Busacca/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_19286": {
"type": "attachments",
"id": "pop_19286",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "19286",
"found": true
},
"parent": 19275,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ringo1-1038x576.jpeg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ringo1-400x300.jpeg",
"width": 400,
"mimeType": "image/jpeg",
"height": 300
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ringo1-960x720.jpeg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ringo1-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ringo1.jpeg",
"width": 1368,
"height": 1026
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ringo1-1180x885.jpeg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ringo1-96x96.jpeg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ringo1-800x600.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ringo1-64x64.jpeg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ringo1-75x75.jpeg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ringo1-32x32.jpeg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ringo1-128x128.jpeg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449099322,
"modified": 1449099336,
"caption": "All this can be yours...if you have wads upon wads of cash. ",
"description": null,
"title": "ringo1",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11129423": {
"type": "attachments",
"id": "arts_11129423",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11129423",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GiorgioMoroder.Main_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GiorgioMoroder.Main_-400x250.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 250
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GiorgioMoroder.Main_-960x600.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 600
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GiorgioMoroder.Main_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GiorgioMoroder.Main_.jpg",
"width": 1280,
"height": 800
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GiorgioMoroder.Main_-1180x738.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 738
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GiorgioMoroder.Main_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GiorgioMoroder.Main_-800x500.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 500
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GiorgioMoroder.Main_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GiorgioMoroder.Main_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GiorgioMoroder.Main_-1180x738.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 738
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GiorgioMoroder.Main_-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/GiorgioMoroder.Main_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449108177,
"modified": 1449108240,
"caption": "Giorgio Moroder.",
"description": "Giorgio Moroder.",
"title": "GiorgioMoroder.Main",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_news_10782409": {
"type": "authors",
"id": "byline_news_10782409",
"meta": {
"override": true
},
"slug": "byline_news_10782409",
"name": "\u003cstrong>\u003ca href=\"http://www.kcrw.com/people/avishay-artsy\">Avishay Artsy\u003c/a>\u003c/strong>",
"isLoading": false
},
"byline_arts_11132961": {
"type": "authors",
"id": "byline_arts_11132961",
"meta": {
"override": true
},
"slug": "byline_arts_11132961",
"name": "Ella Taylor",
"isLoading": false
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"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"
},
"rachael-myrow": {
"type": "authors",
"id": "251",
"meta": {
"index": "authors_1716337520",
"id": "251",
"found": true
},
"name": "Rachael Myrow",
"firstName": "Rachael",
"lastName": "Myrow",
"slug": "rachael-myrow",
"email": "rmyrow@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Senior Editor of KQED's Silicon Valley News Desk",
"bio": "• I write and edit stories about how Silicon Valley power and policies shape everyday life in California. I’m also passionate about making Bay Area history and culture more accessible to a broad public. • I’ve been a journalist for most of my life, starting in high school with The Franklin Press in Los Angeles, where I grew up. While earning my first degree in English at UC Berkeley, I got my start in public radio at KALX-FM. After completing a second degree in journalism at Cal, I landed my first professional job at Marketplace, then moved on to KPCC (now LAist), and then KQED, where I hosted The California Report for more than seven years. • My reporting has appeared on NPR, The World, WBUR’s \u003ci>Here & Now\u003c/i>, and the BBC. I also guest host for KQED’s \u003ci>Forum\u003c/i>, as well as the Commonwealth Club in San Francisco. • I speak periodically on media, democracy and technology issues, and do voiceover work for documentaries and educational video projects. • Outside of the studio, you'll find me hiking Bay Area trails and whipping up Insta-ready meals in my kitchen. • I do not accept gifts, money, or favors from anyone connected to my reporting, I don't pay people for information, and I do not support or donate to political causes. • I strive to treat the people I report on with fairness, honesty, and respect. I also recognize there are often multiple sides to a story and work to verify information through multiple sources and documentation. If I get something wrong, I correct it.",
"avatar": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twitter": "rachaelmyrow",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": "https://www.linkedin.com/in/rachaelmyrow/",
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"edit_others_posts",
"editor"
]
},
{
"site": "futureofyou",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"author"
]
}
],
"headData": {
"title": "Rachael Myrow | KQED",
"description": "Senior Editor of KQED's Silicon Valley News Desk",
"ogImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/rachael-myrow"
},
"onqblog": {
"type": "authors",
"id": "6626",
"meta": {
"index": "authors_1716337520",
"id": "6626",
"found": true
},
"name": "On KQED",
"firstName": null,
"lastName": null,
"slug": "onqblog",
"email": "facebook@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/4d473a725414594c918f2d15becd4fdd?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "about",
"roles": [
"editor"
]
},
{
"site": "pressroom",
"roles": [
"editor"
]
},
{
"site": "tvchanges",
"roles": [
"editor"
]
},
{
"site": "transmitterstatus",
"roles": [
"editor"
]
}
],
"headData": {
"title": "On KQED | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/4d473a725414594c918f2d15becd4fdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/4d473a725414594c918f2d15becd4fdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/onqblog"
},
"esilvers": {
"type": "authors",
"id": "7237",
"meta": {
"index": "authors_1716337520",
"id": "7237",
"found": true
},
"name": "Emma Silvers",
"firstName": "Emma",
"lastName": "Silvers",
"slug": "esilvers",
"email": "esilvers@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Emma Silvers is an editor at KQED Arts and a former digital producer at KQED News. Born and raised in the Bay Area, she has previously been an arts and entertainment editor at the \u003cem>San Francisco Chronicle\u003c/em>, \u003cem>SF Weekly\u003c/em> and the \u003cem>San Francisco Bay Guardian.\u003c/em> \u003ca href=\"https://www.emmasilvers.com\">Her work\u003c/a> has also appeared in \u003cem>Rolling Stone\u003c/em>, Pitchfork and \u003cem>Mother Jones\u003c/em>. In 2017 she was the recipient of the Society of Professional Journalists-Northern California's award for arts and culture reporting. In 1993 she \u003ca href=\"https://www.kqed.org/pop/16759/wait-what-my-coworker-was-a-voice-over-hyperventilator-for-jurassic-park\">hyperventilated in \u003cem>Jurassic Park\u003c/em>\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twitter": "emmaruthless",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"contributor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Emma Silvers | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/esilvers"
},
"cveltman": {
"type": "authors",
"id": "8608",
"meta": {
"index": "authors_1716337520",
"id": "8608",
"found": true
},
"name": "Chloe Veltman",
"firstName": "Chloe",
"lastName": "Veltman",
"slug": "cveltman",
"email": "cveltman@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Arts and Culture Reporter",
"bio": "Chloe Veltman is a former arts and culture reporter for KQED. Prior to joining the organization, she launched and led the arts bureau at Colorado Public Radio, served as the Bay Area's culture columnist for the New York Times, and was the founder, host and executive producer of VoiceBox, a national award-winning weekly podcast/radio show and live events series all about the human voice. Chloe is the recipient of numerous prizes, grants and fellowships including a Webby Award for her work on interactive storytelling, both the John S Knight Journalism Fellowship and Humanities Center Fellowship at Stanford University, the Sundance Arts Writing Fellowship and a Library of Congress Research Fellowship. She is the author of the book \"On Acting\" and has appeared as a guest lecturer at Yale University and the San Francisco Conservatory of Music among other institutions. She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twitter": "chloeveltman",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": []
}
],
"headData": {
"title": "Chloe Veltman | KQED",
"description": "Arts and Culture Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cveltman"
}
},
"pagesReducer": {
"arts_category_music": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"score": 10.847937
},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"title": "Music",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 314
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=music",
"seeMore": false,
"paginated": true,
"page": 314
}
},
{
"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_11146612": {
"type": "posts",
"id": "arts_11146612",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11146612",
"score": null,
"sort": [
1449621656000
]
},
"guestAuthors": [],
"slug": "nea-awards-27m-in-grants-for-2016-over-2m-for-bay-area-orgs",
"title": "NEA Awards $27M in Grants for 2016, Over $2M for Bay Area Orgs",
"publishDate": 1449621656,
"format": "standard",
"headTitle": "NEA Awards $27M in Grants for 2016, Over $2M for Bay Area Orgs | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Kicking off its 50th year, the National Endowment for the Arts (NEA) announced on Tuesday that it was awarding $27 million in grants to American art organizations, with $2,085,000 going to groups in the Bay Area.\u003c/p>\n\u003cp>In its first 50 years, the NEA has reportedly provided \u003ca href=\"https://www.arts.gov/news/2015/27-million-awarded-arts-projects\" target=\"_blank\" rel=\"noopener\">more than $5 billion in grants\u003c/a> to arts organizations in every state. This year, the endowment is supporting well over 1,100 projects, with many of them located right here in the Bay Area.\u003c/p>\n\u003cp>The local organizations receiving funds range from long-established theater companies like Berkeley Rep, to experimental dance troupes like Project Bandaloop to audio recording programs like Women’s Audio Mission. \u003c/p>\n\u003cp>Below is all of the Bay Area organizations that will be receiving \u003ca href=\"https://www.arts.gov/sites/default/files/Fall_2015_State_grant_list.pdf\" target=\"_blank\" rel=\"noopener\">NEA grants in 2016\u003c/a>. (According to the NEA, some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Information is current as of Dec. 1, 2015.) \u003c/p>\n\u003ch3>\nBerkeley Repertory Theatre (aka Berkeley Rep)\u003c/h3>\n\u003ch5>$50,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the creation and development of new work in The Ground Floor Center program. The Center encompasses Berkeley Rep’s efforts to sustain and develop relationships with both emerging and mature artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The project will include commissions, workshops, and a summer residency lab. The laboratory space will allow nontraditional artists to take risks in developing groundbreaking work on a large scale and will offer a flexible and supportive environment for artists to work collaboratively across disciplines. By inviting the audience and community into the creative process, the theater maintains an ongoing conversation about the emerging work.\u003c/p>\n\u003ch3>Gamelan Sekar Jaya\u003c/h3>\n\u003ch5>$20,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support Artists-in-Residence from Bali, Indonesia. Guest artists, including composers and a choreographer, will create and direct new work exploring and celebrating artistic precision embedded within Balinese arts. In addition to performing in concerts and offering workshops to the public, the resident artists will work closely with the musicians of Gamelan Sekar Jaya to refine and maintain important classic Balinese works.\u003c/p>\n\u003ch3>Kala Institute (aka Kala Art Institute)\u003c/h3>\n\u003ch5>$10,000 Berkeley, CA\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE: \u003c/strong>Artist Communities\u003cbr>\nTo support residencies and related activities. National and international artists will be provided the time and materials to work in book arts, electronic/digital media, installation, photography, and printmaking. The new bodies of work will be presented through exhibitions, performances, and public programs.\u003c/p>\n\u003ch3>National Film Preserve, Ltd. (aka Telluride Film Festival)\u003c/h3>\n\u003ch5>$50,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the Telluride Film Festival. Held during Labor Day weekend, the event includes the presentation of feature-length and short films from the United States and abroad as well as panel discussions, retrospectives, and educational programs. Recent festivals have included the premieres of films such as \u003cem>12 Years A Slave\u003c/em>, \u003cem>The Act of Killing\u003c/em>, \u003cem>Gravity\u003c/em>, \u003cem>Pina,\u003c/em> \u003cem>Argo\u003c/em>, and \u003cem>Birdman\u003c/em>. Held each year in Telluride, Colorado, the festival is devoted to promoting the discovery of new trends and directions in film as well as to unveil lost masterpieces and unheralded artists of the past. Festival programming will also include free public events such as daytime seminars and interviews with filmmakers.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley\u003c/h3>\n\u003ch5>$10,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support Cinema Mon Amour, a curated exhibition series. Presented at the Pacific Film Archives in downtown Berkeley, the series will invite acclaimed filmmakers and Bay Area artists to present films that have inspired and influenced them. Potential artists include Jane Campion, Daniel Clowes, and Jean-Marie Teno.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley (On behalf of Berkeley Art Museum)\u003c/h3>\n\u003ch5>$30,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Museum\u003cbr>\nTo support public programs for an exhibition about architecture and life’s experiences. These programs will reflect the content of an inaugural exhibition \u003cem>Architecture of Life\u003c/em>, that examines the transformative nature of art and architecture against the backdrop of the Berkeley Art Museum’s new downtown building. Works by artists and architects in the exhibition include George Ault, Marcel Duchamp, Lee Bontecou, Louise Bourgeois,Buckminster Fuller, Diller Scofidio + Renfro and many others. Lectures, gallery talks, art-making workshops, school and family programs, and live performances are among the public programs that will engage audiences.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley (On behalf of Cal Performances)\u003c/h3>\n\u003ch5>$35,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music/Imagine Your Parks\u003cbr>\nTo support the Cal Performances’ Saint Louis Symphony residency and a collaboration with the Trust for Public Land, an Imagine Your Parks project. Cal Performances will present the Saint Louis Symphony with Music Director David Robertson in a multi-day residency on the Berkeley, California campus, which will be anchored by a performance of French composer Olivier Messiaen’s “Des canyons aux etoiles… (From the canyons to the stars…),” a work commissioned by Alice Tully in 1971 for the bicentennial celebration of the United States of America. The performance will be accompanied by a visual installation by landscape photographer Deborah O’Grady designed to capture the grandeur of Utah’s desert landscapes. A co-commission with Los Angeles Philharmonic, Saint Louis Symphony Orchestra, Sydney Symphony Orchestra, and Washington Performing Arts, the performance will celebrate the centenary of the National Park Service. Using Cal Performances’ model of artistic literacy, staff will engage local middle- and high school students in a creative process inspired by Messiaen’s work and the landscape photography of Ms. O’Grady. The Trust will document and disseminate the process and the work online.\u003c/p>\n\u003ch3>Healdsburg Jazz Festival, Inc. (aka Healdsburg Jazz)\u003c/h3>\n\u003ch5>$20,000 (Healdsburg, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Oceans of Time: A Journey Through the Music of Billy “Jabali” Hart component of the Healdsburg Jazz Festival. The two-day mini-festival will celebrate the diverse career, creative vision, and impact of drummer Billy Hart. Proposed programming includes a reunion of Hart with his pioneering Enhance and Quest ensembles as well as performances by his Oceans of Time group and his current quartet with pianist Ethan Iverson, Ben Street, and Mark Turner. Other participating artists may include NEA Jazz Master Dave Liebman as well as Geri Allen, Steve Coleman, Mark Feldman, Eddie Henderson, Dave Holland, Oliver Lake, Billy Harper, and other musicians Hart has performed with throughout his career.\u003c/p>\n\u003ch3>Marin Theatre Company (aka MTC)\u003c/h3>\n\u003ch5>$20,000 (Mill Valley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “Swimmers” by Rachel Bonds. The play is set in a business industrial park and its plot travels up the floors of an office building in which no one does any work. The news of a sexual harassment case quickly ascends the building’s 11 floors and eventually ends up on the roof. As the details of the situation become more ambiguous and surreal, coyotes howl in the distance and the end of the world may be nigh. \u003cem>Swimmers\u003c/em> will feature a multicultural cast and will mark Bonds’ premiere as a playwright in California’s Bay Area.\u003c/p>\n\u003ch3>AXIS Dance Company (aka AXIS)\u003c/h3>\n\u003ch5>$20,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support Dance Access Education and Outreach programs in the Bay Area and on a national tour. AXIS will offer a variety of events for youth and adults with and without disabilities who are based locally and nationally.\u003c/p>\n\u003cp>Project activities may include dance classes, school assemblies, a dance camp for youth, teacher training, and a dance apprentice program for students with spinal cord injuries. Additional activities may comprise workshops for emerging choreographers and professional dancers, community workshops, lecture-demonstrations, and presentations. A new program that will be offered locally and while on tour will include open rehearsals and movement experience for veterans.\u003c/p>\n\u003ch3>Destiny Arts Center (aka Destiny Arts)\u003c/h3>\n\u003ch5>$20,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support Destiny Arts Youth Performance Company’s collaboration with professional dancers, choreographers, and theater artists, culminating in dance theater productions that express life challenges and aspirations. Productions will combine hip-hop, modern, and aerial dance with acting and dramatic recitation. The project will support rehearsals leading up to a spring performance as well as auditions, retreat, and rehearsal for a fall performance. Students will have many opportunities to perform in self-produced concerts, conferences, festivals, and other community venues.\u003c/p>\n\u003ch3>East Bay Performing Arts (aka Oakland East Bay Symphony)\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE: Music\u003c/strong>\u003cbr>\nTo support the creation and premiere of a new work by composer Van-Anh Vanessa Vo performed by Oakland Symphony with related educational activities. The work, titled “Notes from Vietnam” will be scored for orchestra and dan tranh, a traditional Vietnamese zither. The premiere will feature the composer as soloist. Communityevents may include workshops on Vietnamese culture and traditional music instruments as well as performances by the composer’s dan tranh zither students.\u003c/p>\n\u003ch3>International Society for the Arts, Sciences and Technology (aka Leonardo)\u003c/h3>\n\u003ch5>$15,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities\u003cbr>\nTo support residencies for artists and scientists. Artists whose works are inspired by mathematics or scientific disciplines will connect with scientists who are involved in art-related research and/or who are artist themselves at Leonardo. Previously, Santa Cruz choreographer mathematician/educator Karl Schaffer collaborated with Spanish physicist Guillermo Munoz to create a new dance based on string polyhedra. Additional activities will include presentations of the residents’ work in public forums, as well as the publication of their work in an international journal and online.\u003c/p>\n\u003ch3>Kitka, Inc. (aka Kitka Women’s Vocal Ensemble)\u003c/h3>\n\u003ch5>$15,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the creation and presentation of “Iron Shoes.” The ensemble will work in collaboration with stage director/choreographer Erika Chong Shuch and members of her dance-theater company The ESP Project, as well as composer Janet Kutulas and production designer Allen Willner, to create a multidisciplinary piece inspired by Eastern European fairy tales. The artists will explore themes of female empowerment and disempowerment, confinement and mobility, youth and age, daily life and dreams, and the relationship to self.\u003c/p>\n\u003ch3>Living Jazz\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support: In the Name of Love, the 14th Musical Tribute Honoring Dr. Martin Luther King, Jr. The tribute will include the Oakland Interfaith Gospel Choir and the Oakland Children’s Community Choir, as well as proposed vocalists Paula West, Terrance Kelly, Patti Cathcart, Zoe Ellis, and Destani Wolff, specializing in the performance of jazz and gospel music. The event, intended to serve a predominantly African-American community, will also include a tribute to vocalist, pianist, and composer Nina Simone. \u003c/p>\n\u003ch3>Oakland Interfaith Gospel Choir, Inc. (aka OIGC)\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a free gospel concert featuring pianist, composer, and arranger Dr. Edwin Hawkins, with related outreach. The project, intended to serve economically disadvantaged, primarily African-American residents, will feature the world premiere of “I Ain’t Here To Stay,” a new vocal suite about African-American male slave experiences, influenced by traditional spirituals and composed by vocalist Terrance Kelly. Hawkins will also premiere his own new compositions and conduct a performance that will include gospel choirs such as the Arcata Interfaith Gospel Choir, the Universal Gospel Choir, the Portland Interfaith Gospel Choir, the Limon Interfaith Gospel Choir, the SKRUK choir, and the Total Experience Gospel Choir. Associated outreach activities\u003cbr>\nwill include workshops and panel discussions covering composition, choir management, organizational growth, board development, and performance techniques for choirs and solo vocalists. \u003c/p>\n\u003ch3>Project Bandaloop (aka BANDALOOP)\u003c/h3>\n\u003ch5>$30,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance/Imagine Your Parks\u003cbr>\nTo support the creation and presentation of a dance work to commemorate the National Park Service’s centennial, an Imagine Your Parks project. Coyote Waltzes by Artistic Director Amelia Rudolph will explore the Native American myth of the trickster coyote through dances. The work will be performed on mountains in Yosemite National Park. Young performers from Oakland’s Destiny Arts will be involved in the execution of the work. The company also will work with Yosemite staff to connect the next generation of park stewards to its mission, introducing them to environmental responsibility and conservation through the project. The work will be presented to the public through social media platforms and livestreaming. BANDALOOP also plans to share\u003cbr>\nthe work through interactive projections of the performance on city buildings. “Coyote Waltzes” will culminate in a performance on the Great Wall in Oakland.\u003c/p>\n\u003ch3>Youth Radio\u003c/h3>\n\u003ch5>$60,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Arts Pathway initiative for youth. Participating students from underserved communities will receive mentoring from professional artists, develop platforms to distribute their art at the community and national level, and operate downtown Oakland’s only storefront youth arts center (known as 1719 Broadway). Works created in the Arts Pathway program will be presented to public audiences, displayed in public spaces, and distributed through a national media network.\u003c/p>\n\u003ch3>East Bay Center for the Performing Arts\u003c/h3>\n\u003ch5>$65,000 (Richmond, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Young Artist Diploma Program. The project is a multi-year dance, media, music, and theater training program for middle and high school students from underserved communities in west Contra Costa County. Professional artists will teach ongoing group classes and individual lessons that will take place in the Iron Triangle Neighborhood of Richmond, California. In addition to Western art forms (classical music, ballet, jazz, contemporary dance, hip-hop, voice), instruction is also offered in the music and dance of Mexico, West Africa, and Laos, and the Caribbean. After the fourth year, some students can continue to be involved in the program as paid teaching assistants, mentoring younger students. The participating students will receive individual coaching and increased opportunities for solo and small ensemble performances at a wide variety of community and professional events.\u003c/p>\n\u003ch3>Each One Reach One\u003c/h3>\n\u003ch5>$20,000 (S. San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Playwriting Workshops. The program will provide arts education services to incarcerated teenagers. Each workshop cycle will provide as many as ten, three-hour sessions to detainees who will be mentored one-on-one to create and develop one-act plays. Workshops will take place inside San Francisco’s\u003cbr>\nJuvenile Justice Center, the Success Center of the San Francisco Youth Summer Program, the San Mateo County Youth Services Center, and Camp Kemp for Girls. Participants will learn how to articulate a dramatic narrative, explore conflict through dialogue, create characters, and how to write a dramatic climax and resolution. Each\u003cbr>\nworkshop will culminate with the reading of participants’ plays by professional actors before an audience of parents, peers, teachers, probation officers, and invited members of the public.\u003c/p>\n\u003ch3>3rd I South Asian Independent Film (aka 3rd i Films)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support the San Francisco International South Asian Film Festival. The festival will screen full-length features, documentaries, and short films by independent South Asian filmmakers from the United States, India, Pakistan, Bangladesh, Sri Lanka, Canada, and Europe. The festival’s focus – its screenings, media artist presentations, and panel discussion – is intended to offer a diverse range of perspectives on the lives of South Asian people in places through the world.\u003c/p>\n\u003ch3>Asian American Women Artists Association (aka AAWAA)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a multidisciplinary art exhibition inspired by the life and work of Japanese-American civil rights leader Yuri Kochiyama. The exhibition will feature invited and juror-selected emerging and established artists from around the country. Priority outreach will be focused on Asian- and Pacific Islander-American, AfricanAmerican,\u003cbr>\nand Latino communities, but the exhibition will be open to artists of all ethnicities and genders. Exhibition programming will include a panel discussion. The primary exhibition site will be SOMArts Culture Center in San Francisco, with a smaller satellite exhibition held in Oakland.\u003c/p>\n\u003ch3>Bay Area Video Coalition, Inc. (aka BAVC)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the provision of video and audio preservation services. Through the Preservation Access Program, the Bay Area Video Coalition will work with media artists and cultural organizations to ensure that artistically significant works are preserved and made available to the public for live and online exhibitions. Approximately\u003cbr>\n300 hours of audiovisual material as well as media in early digital formats are expected to be preserved. Recent clients include The Other Minds Music Festival, Dance Theatre of Harlem, The Poetry Center and American Poetry Archive, and Video Data Bank.\u003c/p>\n\u003ch3>Bayview Hunters Point Center for Arts & Technology (aka BAYCAT)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the BAYCAT Youth Powered Media Program. Students will develop skills such as artistic expression, critical thinking, and effective communication, while receiving comprehensive instruction in digital media arts technology. As youth media producers, students will collaborate to create programming for the award-winning, youth-created TV show, “Zoom In.”.\u003c/p>\n\u003ch3>Center for Asian American Media (aka CAAM)\n\u003ch3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003c/h3>\u003c/h3>\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support CAAMFest 2016, a media arts festival showcasing the work of Asian and Asian-American artists. Held in San Francisco, Berkley, Oakland, and San Jose, the festival features film, music, and digital media as well as live events and multimedia performances. Festival programming will include screenings from the filmmaking workshop “Muslim Youth Voices” and works portraying untold stories of Asian and Asian-American experience.\u003c/p>\n\u003ch3>Center for the Art of Translation\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Literature\u003cbr>\nTo support the publication and promotion of print and electronic versions of the journal “Two Lines,” as well as books in translation. Dedicated to building an audience for world writing, the journal often features writers who are well known in their own languages but unknown in English. Books selected for publication will highlight the ethnic, cultural, and gender diversity of international literature.\u003c/p>\n\u003ch3>Community Music Center (aka CMC)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Young Musicians Program (YMP). This free program for diverse middle and high school students from underserved communities focuses on a variety of musical styles including Latin, Jazz, popular, and classical. The Mission District YMP is a bilingual program primarily for Latino youth and focuses on repertoire and skills\u003cbr>\nfundamental to Latin traditional and popular music. YMP works with students nominated by their public school music teachers to study chamber music, jazz, and string orchestra. The project also provides group classes in chamber music, jazz and string orchestra, and theory and music history to advanced students. Each component provides multiple community-based performance opportunities for youth.\u003c/p>\n\u003ch3>CounterPulse\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the CounterPULSE Artist Residency and Commissioning (ARC) Program. The program will identify local emerging and mid-career choreographers whose work is ready to be appreciated by a larger audience. CounterPULSE will provide space and support for those artists to create new dances. During the residency, some of the artists will develop, teach, and perform new works. Other artists will be commissioned to continue developing their works into full length world premieres. Residency tracks include Edge, focusing on contemporary work; Performing Diaspora, focusing on culturally specific work on the edge of tradition; and Combustible, focusing on innovative and culturally engaged work. Activities may also include dance workshops for the public taught by the artists-in-residence, and work-in-progress showings where residents and the public provide feedback on the work. The residencies will culminate in a fully produced premiere of the works, which will run during two weeks.\u003c/p>\n\u003ch3>Crowded Fire Theater Company (aka Crowded Fire)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “On a Wonderverse” by Geetha Reddy. The second in Reddy’s trilogy of plays inspired by Hindu mythology, the play centers on the deity Shiva the Destroyer. The work also explores the intersection between physics, women in science, and Hindu mythology. Set at CERN’s (the European Council for Nuclear Research) Large Hadron Collider in Switzerland, a brilliant young physicist Alpheratz Schen leads a research team, but is overlooked when her male co-author receives the coveted Nobel Prize. Her frustration leads to another discovery that has the potential to unleash critical insight into the origins of life. The theater may partner with California Girls in STEM at The Lawrence Hall of Science as well as the Stanford branch of Tech Trek, a science camp for eighth-grade girls, to create conversations between the artists and young women around the issues in the play.\u003c/p>\n\u003ch3>Cutting Ball Theater\u003c/h3>\n\n\u003cp>$10,000 (San Francisco, CA)\n\u003c/p>\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the development and premiere of “Ondine” by Katharine Sherman. Based on an ancient mermaid myth that inspired Jean Giraudoux’s seminal 1938 work of the same title and Hans Christian Andersen’s \u003cem>The Little Mermaid\u003c/em>, Sherman’s \u003cem>Ondine\u003c/em> is a contemporary retelling of the story of a water spirit who comes to land\u003cbr>\nto be with her lover. The production will be directed by Founding Artistic Director Rob Melrose. The playwright will be in residence in San Francisco for the duration of the rehearsal period leading up to the world premiere production.\u003c/p>\n\u003ch3>Exploratorium\u003c/h3>\n\u003ch5>$40,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of multidisciplinary works and performances celebrating the importance of light to the arts. Using items such as emulsion, film, lenses, mirrors, projectors, and screens, artists will create work that illuminates the physics of light that are fundamental to their creative practices. Exploratorium stresses that a transparent creative process and experiential learning will lead to a meaningful understanding of the project’s complex theme.\u003c/p>\n\u003ch3>Eyes and Ears Foundation (aka San Francisco International Arts Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support international artists at the San Francisco International Arts Festival. The festival will feature a variety of performances by artists from the Bay Area and approximately 10 different countries. Artist fees, per diems, hotel costs and legal fees to support international artists performing at the San Francisco Arts Festival.\u003c/p>\n\u003ch3>Fort Mason Center\u003c/h3>\n\u003cp>$20,000 San Francisco, CA\u003cbr>\nFIELD/DISCIPLINE: Presenting & Multidisciplinary Works/Imagine Your Parks\u003cbr>\nTo support \u003cem>The Rainbow: Certain Principles of Light and Shapes Between Forms\u003c/em>, an Imagine Your Parks project. The Fort Mason Center will project a dense waterwall created by installation artist Michael Jones McKean at timed intervals to reveal a rainbow over the center’s three piers that extend into the San Francisco\u003cbr>\nBay. An accompanying exhibition created by McKean will include historical objects from the area. Fort Mason Center is located within the Golden Gate National Recreation Area, part of the National Park Service.\u003c/p>\n\u003ch3>Frameline (aka San Francisco International LGBT Film Festival)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the presentation and expansion of Frameline Encore, a year-round film exhibition program. All screenings are free. This year, the San Francisco International LGBT Film Festival program will include continued expansion to locations in Oakland, Berkeley, and surrounding areas in the East Bay. Feature-length and short film programs representing the LGBTQ community will be shown at each venue.\u003c/p>\n\u003ch3>Garrett Moulton Productions (aka Garrett Moulton Productions)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of an evening-length work, by Co-Artistic Directors Janice Garrett and Charles Moulton. Titled \u003ci>To Hear the Angels Sing,\u003c/i> the work will explore the themes of transcendence and hope, and will be a large-scale new work comprised of Garret + Moulton’s six company dancers; an 18-dancer\u003cbr>\n“movement choir;” a chorus of 12 singers who will be integrated into the stage action; and an ensemble of eight musicians. The work will premiere at the Yerba Buena Center for the Arts in San Francisco and will include open rehearsals and post-show question-and-answer sessions.\u003c/p>\n\u003ch3>Golden Thread Productions\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “The Most Dangerous Highway in the World” by Kevin Artigue, and the West Coast premiere of \u003ci>Our Enemies: Lively Scenes of Love and Combat\u003c/i> by Yussef El Guindi. Set on the Jalalabad-Kabul Highway in Afghanistan. Artigue’s play portrays a precocious nine-year-old “business man” who survives by\u003cbr>\nselling old fish to truck drivers and the random passersby. Through humor and with poignant honesty, the playwright creates a world that is both foreign and familiar. \u003c/p>\n\u003cp>The production will introduce a new theatrical voice and will deepen the theater’s relationship with the Bay Area’s Afghan population. Golden Thread has served as an artistic home for Arab-American playwright El Guindi for more than 15 years. The theater will produce the second production of his play about the politics of representation in the publishing industry.\u003c/p>\n\u003ch3>Idris Ackamoor & Cultural Odyssey (aka Cultural Odyssey)\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the creation and production of \u003cem>When Did Your Hands Become a Weapon\u003c/em>. Cultural Odyssey CoArtistic Director Rhodessa Jones, who is also the director of the Media Project: Theater for Incarcerated Women, will collaborate with the Women’s HIV Program at the University of San Francisco Medical Center to develop a\u003cbr>\nmusical theater work focusing on the issues of violence and addiction. The Media Project uses the performing arts to work with female inmates and ex-inmates. Jones will utilize its longstanding method to empower women currently living in the community with HIV. Community forums will share information on HIV and encourage women living with the disease to develop supportive networks, overcome additions, and to leave abusive partners.\u003c/p>\n\u003ch3>inkBoat, Inc. (aka inkBoat)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works/Imagine Your Parks\u003cbr>\nTo support the creation and presentation of “The Monster and the Hero” an Imagine Your Parks project. inkBoat will collaborate with the theater company We Players and the Rova Saxophone Quartet to create a new multidisciplinary work inspired by \u003cem>Beowulf\u003c/em>. Working in the San Francisco Maritime National Historical Park and adjacent Fort Mason, the artists will draw inspiration from the National Park Service sites, including Coast Miwok people settlements, U.S. military history, and historic ships. Workshop performances will be open to the public leading up to the premiere of the site-specific work.\u003c/p>\n\u003ch3>Joe Goode Performance Group\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of a new work by choreographer Joe Goode. The work will be performed to an original score by French string quartet Quatuor. Goode’s inspiration for the work is the French village Oradour-sur-Glane, which was completely demolished during the Nazi occupation of France. Goode and his company will interview residents of the village and their responses to the work will become verbatim text incorporated in the work. The work will premiere in San Francisco after its premiere in France during the Festival du Haut Limousin.\u003c/p>\n\u003ch3>Kitchen Sisters Productions (aka The Kitchen Sisters)\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support distribution of the podcast Fugitive Waves. Incorporating a documentary archive of interviews, music, field recordings, and audio, the program is devoted to telling little-known stories of culture, ritual, and tradition. Archival works will be digitized, prepared for distribution, and public access to the program will offered through the podcast and additional digital platforms. In 2016, episodes will include features on the lives, history, tradition, food, music, and rituals of Native Americans, Alaskan Natives, and native Hawaiians.\u003c/p>\n\u003ch3>Kronos Performing Arts Association (aka KRONOS QUARTET)\u003c/h3>\n\u003ch5>$40,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cb>FIELD/DISCIPLINE:\u003c/b> Music\u003cbr>\nTo support year one of Fifty for the Future, a commissioning project by the Kronos Quartet. Plans include the creation of five string quartets for players of multiple skill levels (ranging from beginner to pre-professional). Scores, individual parts, and an array of other project materials will be available online at no charge. Premieres of the new works will take place in conjunction with residencies throughout the country. Educational activities will include master classes and workshops.\u003c/p>\n\u003ch3>Kulintang Arts (aka Kularts)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support \u003cem>Mariang Makiling\u003c/em>, a Filipino dance theater production and associated activities. Filipino folkloric choreographer Jay Loyola and musician and composer Florante Aguilar will work with Kularts to develop the piece inspired by Philippine myths and native spirituality. In advance of the public performance, Loyola will present an advanced dance workshop for members of the folkloric dance community.\u003c/p>\n\u003ch3>LEVYdance, Inc. (aka LEVYdance)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support AMP (Artists Maximizing Potential), a program that seeks to innovate the single choreographer dance company model. Choreographer Sara Shelton Mann and her dancers will engage in an eight-week residency to create a new work with LEVYdance. The program will support the artistic process from the research and development phase, to production and touring, and will include a technical residency at ODC Theater. The program will culminate in a performance and tour of the new work.\u003c/p>\n\u003ch3>Lighthouse for the Blind and Visually Impaired (aka LightHouse for the Blind)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support Superfest, an international disability film festival. The festival will showcase multi-genre films complemented by panel discussions with filmmakers, actors, disability leaders, and audience members. The festival will provide assisted listening systems, live captioning, braille, large print programs, and audio description. \u003c/p>\n\u003ch3>Magic Theatre, Inc. (aka Magic Theatre)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Mid-Career Playwright Initiative. Playwright Jessica Hagedorn will be in residence to continue developing her seminal theater work “Dogeaters” and to create an adaptation for the stage of her novel, \u003cem>Gangster of Love\u003c/em>. She may revise the text of \u003cem>Dogeaters\u003c/em> to incorporate additional dialogue in Tagalog to make the play bilingual. The play will be produced for a San Francisco premiere and may feature immersive and interactive design and staging that will allow audiences to access the play’s exuberant and unpredictable world more closely. A possible approach may be transforming a found space in San Francisco’s historically Filipino Tenderloin neighborhood into the underground Manila disco in which the events of the play unfold. Community and student outreach efforts will accompany the production.\u003c/p>\n\u003ch3>Margaret Jenkins Dance Studio, Inc. (aka Margaret Jenkins Dance Company)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of \u003cem>Site Series 2 (Inside Outside)\u003c/em>. Propelled by the vagabond nature of being a performance artist, a metaphor for all of life’s journeys, Margaret Jenkins and her company will choreograph small, site-specific works to be performed in non-traditional spaces, like churches, homes, and museums. The works can be presented as individual vignettes or as a complete evening-length work.\u003c/p>\n\u003ch3>ODC (aka Oberlin Dance Collective)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of new dance works. Co-Artistic Director Brenda Way will choreograph, \u003cem>Walk Back the Cat\u003c/em>, to a commissioned score by composer Paul Drescher, with set design by Alex Nichols. Guest artist Kate Weare will choreograph \u003cem>Criss Cross\u003c/em>. The works will premiere at the Yerba Buena Center for the Arts prior to touring to Chico, California, and White Bird in Portland, Oregon.\u003c/p>\n\u003ch3>ODC Theater\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the ODC Theater Presents program. The project will include The Walking Distance Dance Festival-SF, as well as presentations of Monique Jenkinson’s mini-series, \u003cem>Gender in Transition\u003c/em>, French-Algerian Compagnie Herve Koubi’s \u003cem>What the Day Owes to The Night\u003c/em>, Scott Wells’ and Keith Hennessy’s \u003cem>Touchy Subjects\u003c/em>, RAWdance’s \u003cem>Double Exposure\u003c/em>, and Hope Mohr Dance’s \u003cem>Manifesting\u003c/em>. ODC Theater’s primary mission is to be the West Coast’s premier venue for the contemporary performing arts and a home to nurture artists.\u003c/p>\n\u003ch3>Philharmonia Baroque Orchestra (aka Philharmonia)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support period-instrument performances of an all-Mozart concert program. Under the direction of Music Director Nicholas McGegan, the project will feature guest artist keyboardist Kristian Bezuidenhout, who will perform on the pianoforte. Programming will include such works by Wolfgang Amadeus Mozart as Concerto for\u003cbr>\nFortepiano no. 23 in A major, Symphony No. 27 in G major, and Symphony No. 39 in E-flat major. The project will celebrate Nicholas McGegan’s 30th anniversary as music director of the orchestra.\u003c/p>\n\u003ch3>Playwrights Foundation, Inc. (aka Playwrights Foundation)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Bay Area Playwrights Festival. The festival will include an artistic retreat, studio development of new plays, and publicly staged showings of full-length plays. Festival plays for staged readings will be selected through a competitive submission process. The festival also will present a workshop production of a play in development at a partner theater. Other festival activities will include a young theater-makers event, mentorship for emerging scenic designers, and an industry weekend, during which national new play producers are invited to San Francisco to see the plays.\u003c/p>\n\u003ch3>San Francisco Arts Commission\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Local Arts Agencies\u003cbr>\nTo support Affordable Housing and Sustainable Communities for San Francisco Artists. Working in partnership with the Mayor’s Office of Housing, the Council of Community Housing Organizations, and private developers, the commission will offer comprehensive services integrating outreach, education, individualized support, workshops, peer-support, and access to the municipal services necessary to meet the basic eligibility requirements for affordable housing. Outreach will focus on low- to moderate-income artists to ensure that individuals are aware of the affordable housing options available.\u003c/p>\n\u003ch3>San Francisco Camerawork, Inc. (aka SF Camerawork)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support an exhibition and publication series by emerging and underrepresented national and international artists. The selected artists will receive conceptual, logistical, financial, and administrative support to develop their work. The series will include gallery exhibitions in San Francisco, including public programming and the publication of three accompanying books with critical essays.\u003c/p>\n\u003ch3>San Francisco Contemporary Music Players (aka SFCMP)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support an artist residency project. The ensemble will present a residency, titled \u003cem>X-SCAPE: New Spaces for New Music\u003c/em>, which will explore space in the physical, metaphorical, and poetic sense, at the Z-Space Theater Artaud, in the Mission District of San Francisco. Programming will include works by composers such as David Lang, Gerard Grisey, Marianthi Papalexandri-Alexadri, Zosha DiCastri, Louis Andreissen, and Morton Feldman. Project activities will include educational events, such as pre-concert discussions, artistic director and composer talks open to the public, and student rehearsals with the ensemble.\u003c/p>\n\u003ch3>San Francisco Film Society (aka SFFS)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 59th San Francisco International Film Festival, and other curated film series. Held in the spring, the festival includes films from around the world, educational programs, and live performances. Additional programming throughout the year will include a series devoted to cinema from Hong Kong, and Screenings in Schools, in which students view films and engage with the filmmakers in person or via Skype. In partnership with the San Francisco Museum of Modern Art, SFFS presents a year-round series celebrating established and emerging masters of cinema.\u003c/p>\n\u003ch3>San Francisco Jazz Organization (aka SFJAZZ)\u003c/h3>\n\u003ch5>$45,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the SFJAZZ Collective’s commissioning, development, and performance of new original works by each member and arrangements of music by Michael Jackson. The ensemble will play as many as 18 live concerts on its 2016 national tour and present pre-concert talks, engage in master classes, workshops, school programs, and outreach events in tour cities which will include West Lafayette and Carmel, Indiana; Dubuque, Iowa; Louisville, Kentucky; North Bethesda, Maryland; Boston, Massachusetts; Detroit, Michigan; Saint Louis, Missouri; New York, New York; Pittsburgh, Pennsylvania; as well as Dallas and Houston, Texas. The SFJAZZ Collective members are Obed Calvaire, Robin Eubanks, Sean Jones, Matt Penman, Davis Sanchez, Edward Simon, Warren Wolf, and Miguel Zenon.\u003c/p>\n\u003ch3>San Francisco Jewish Film Festival (aka San Francisco Jewish Film Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 36th San Francisco Jewish Film Festival and related activities. Held in the summer, the festival hosts film screenings, live music, and panel discussions in celebration of Jewish culture and tradition. Recent films screened at the festival included Doug Block’s \u003cem>112 Weddings\u003c/em>, \u003cem>The Green Prince\u003c/em> by Nadav Schirman, and \u003cem>Theodore Bikel: In the Shoes of Sholom Aleichem\u003c/em> by John Lollos.\u003c/p>\n\u003ch3>San Francisco Opera Association (aka San Francisco Opera)\u003c/h3>\n\u003ch5>$90,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Opera\u003cbr>\nTo support the world premiere of \u003cem>Dream of the Red Chamber\u003c/em> by composer Bright Sheng with a libretto by playwright David Henry Hwang and Sheng. The text was written in the 18th century by Cao Xueqin, and is considered one of China’s four great classical novels, telling the story of a heartbreaking and timeless love\u003cbr>\ntriangle. The creative team may include Tony Award-winner David Henry Hwang, playwright and director Stan Lai, Academy Award-winning designer and art director Tim Yip, conductor George Manahan, and contralto Qiu Lin Zhang. Outreach activities will focus on the local and national Chinese-American community, college/university programs in music and Chinese/Asian studies, and cultural institutions in the Bay Area such as the Asian Art Museum of San Francisco. As many as six performances will be presented in the fall of 2016 at the War Memorial Opera House.\u003c/p>\n\u003ch3>San Francisco Performances, Inc. (aka San Francisco Performances)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of music and dance performances. The series will feature performances by pianist Leif Ove Andsnes (Norway), pianist Jonathan Biss, the Brentano String Quartet, Dorrance Dance, the Dover Quartet, pianist Marc-Andre Hamelin (Canada), cellist Harriet Krigjh (The Netherlands), tenor Mark Padmore, Paul Taylor Dance Company, and pianist Javier Perianes (Spain). Educational and outreach activities will include lectures, open rehearsals, and workshops.\u003c/p>\n\u003ch3>San Francisco Symphony (On behalf of San Francisco Symphony Youth Orchestra)\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Artistic Development Program of the San Francisco Symphony Youth Orchestra. Designed to complement the youth orchestra’s core program of weekly rehearsals and concert performances, the free program will provide middle to high school students with coaching, mentorship, and specialized training in chamber music. Students will receive free tickets to San Francisco Symphony performances and participate in master classes with guest artists. In addition to rehearsals with San Francisco Symphony Youth Orchestra Music Director Donato Cabrera, participants will rehearse with San Francisco Symphony Music Director Michael Tilson Thomas.\u003c/p>\n\u003ch3>San Francisco Symphony\u003c/h3>\n\u003ch5>$75,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support a commissioning, performance, and composer residency project. Under the direction of Artistic Director Michael Tilson Thomas, the \u003cem>Mason Bates: Composer in 360\u003c/em> project will feature the world premiere performance of a new work by Bates titled “Auditorium” with guest conductor Pablo Heras-Casado (named Musical America’s 2014 Conductor of the Year). The composer will begin his two-week residency by curating musical evenings in SoundBox, the orchestra’s new performance space located backstage at Davies Symphony Hall. Activities will include community engagements, such as pre-concert lectures and conversations.\u003c/p>\n\u003ch3>Silent Film Festival (aka San Francisco Silent Film Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 21st San Francisco Silent Film Festival. The four-day event showcases silent films with live musical accompaniment at the Castro Theatre in San Francisco. The 2016 festival will celebrate the centennial of a pivotal year in film history – 1916 – with screenings of films made in that year, such as D.W. Griffith’s \u003ci>Intolerance.\u003c/i>\u003c/p>\n\u003ch3>Southern Exposure\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support the commissioning of new work by emerging artists for gallery exhibitions and public art projects. This year-long project will include group exhibitions, public art projects, and additional events and performances highlighting the contemporary art practice of emerging Bay Area artists and art writers. A rotating curatorial committee will select the artists. Participating artists will receive conceptual, logistical, and administrative support to develop their work; a stipend and materials budget; and published essays.\u003c/p>\n\u003ch3>Stern Grove Festival Association (aka Stern Grove Festival)\u003c/h3>\n\u003ch5>$45,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the Stern Grove Festival. The festival will feature free outdoor performances by artists including the San Francisco Symphony and the San Francisco Ballet, as well as world music, pop, and jazz artists. Engagement activities will include hands-on workshops and camps for youth, as well as pre-show arts activities and discussions.\u003c/p>\n\u003ch3>The SF Playhouse (aka San Francisco Playhouse)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Sandbox New Play Program. The program supports playwrights through the commissioning and development of new works. Development opportunities will include a monthly reading series, week-long workshops with professional artists, and the Sandbox Series of world premiere productions. Designed to serve as a bridge between readings and mainstage productions, the program will provide a low-risk environment and community of support in which playwrights can hone their craft. The project will include the world premiere of a new play by Theresa Rebeck as well as a second production of \u003cem>You Mean to Do Me Harm\u003c/em> by Christopher Chen.\u003c/p>\n\u003ch3>Theatre of Yugen, Incorporated (aka Theatre of Yugen at NOHspace)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the development and production of \u003cem>A Play on a Plate\u003c/em>, a theatrical event fusing theater with culinary arts. Developed in collaboration with Japanese chef Nobuaki Fushiki through the company’s Fermentation Lab, the performance will take the form of a theater/dinner pop-up event inspired by the many ways fermentation influences Japanese cuisine. The project will explore the potential of food to bring together diverse communities, including the local corporate community, prominent members of San Francisco’s foodie culture, students, and scientists in the growing biotech industry. The project development period will include educational outreach events and work-in-progress showings.\u003c/p>\n\u003ch3>Women’s Audio Mission (aka WAM)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the expansion of Girls on the Mic: Digital Media Training for Girls. The project is a media arts education program for girls from underserved communities in the Bay Area. Project activities are designed to cultivate the next generation of women media arts and technology experts. Participants will create their own websites, podcasts, music projects, and other media arts projects that mirror professional activities such as creative coding. Students will showcase their work online and share via mobile devices with friends and family.\u003c/p>\n\u003ch3>World Arts West (aka San Francisco Ethnic Dance Festival)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the presentation of the 38th annual San Francisco Ethnic Dance Festival. The festival provides underserved artists with the opportunity to perform in a professional setting. Artistic Directors Carlos Carvajal and CK Ladzekpo will attend dancers’ rehearsals and offer input and guidance, while also creating innovative transitions between dance pieces. After a rigorous audition process, more than 30 Northern California dance ensembles, whose work is rooted in various cultural traditions, will be selected to perform at the festival.\u003c/p>\n\u003ch3>Yerba Buena Arts & Events (aka Yerba Buena Gardens Festival (YBGF))\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the Yerba Buena Gardens Festival. The outdoor series will include world premiere presentations of new works and performances by artists in world music, dance, and Latin jazz, among others. The festival also will include partnerships with other local performing arts organizations.\u003c/p>\n\u003ch3>Zaccho SF (aka Zaccho Dance Theatre)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the second biennial SF Aerial Dance Festival. The festival will bring together aerial dance artists, students, and audiences for a dynamic week of performances, workshops, and discussions. Emerging and established aerial dance choreographers will be featured, including Flyaway Productions, Project BANDALOOP, and Zaccho Dance Theatre. Performances will take place at the historic Fort Mason Center, with workshops happening at the Zaccho Studio in Bayview/Hunter’s Point.\u003c/p>\n\u003ch3>ZYZZYVA, Inc. (aka ZYZZYVA)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Literature\u003cbr>\nTo support the publication and promotion of the journal “ZYZZYVA.” Showcasing the work of acclaimed and emerging West Coast writers, the journal publishes fiction, poetry, nonfiction, and artwork. The journal will be promoted at literary festivals and conferences; additional content, such as original writing and video interviews with contributors, will be made available online.\u003c/p>\n\u003ch3>Firebird Youth Chinese Orchestra\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support the Aimusic International Festival: Intangible Chinese Heritage Celebration. Performers from China and other Asian countries will showcase a variety of traditional Asian operas, as well as offer a seminar on Chinese opera. As many as 20 groups are expected to present performances that will include Kunqu Opera, Peking Opera, Yueju Opera, and Tibetan Opera. Additionally, the Firebird Youth Chinese Orchestra will rehearse special music for the festival and receive training in traditional Chinese customs and etiquette to receive the international artists properly.\u003c/p>\n\u003ch3>Mexican Heritage Corporation (aka VivaFest!)\u003c/h3>\n\u003ch5>$15,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support VivaFest!, the San Jose Mexican Heritage and Mariachi Festival. The project will celebrate the contributions of Mexican Americans and new Latino immigrants to the culture of the U.S. through performances, workshops, and art exhibits. Additionally, the program will offer master classes for mariachi and ballet folklorico.\u003c/p>\n\u003ch3>Movimiento de Arte y Cultura Latino Americana de San Jose, Inc. (aka MACLA)\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater\u003cbr>\nTo support the production of \u003ci>’57 Chevy,\u003c/i> a solo performance piece based on the script by Cris Franco, and associated outreach activities. Ricardo Salinas will perform the autobiographical story about a young man traversing the physical and cultural borders from Mexico City to the United States in the back seat of his father’s\u003cbr>\n1957 Chevrolet. The production will premiere at the Castellano Playhouse and will include performances for area high schools that serve a Latino majority.\u003c/p>\n\u003ch3>Opera Cultura\u003c/h3>\n\u003ch5>$15,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Opera\u003cbr>\nTo support commission, development, and workshop presentations of \u003cem>Bless Me, Ultima\u003c/em> a Mexican-American opera by composer/librettist Hector Armienta. The opera is based on Rudolfo Anaya’s novel of the same title (which is part of the NEA’s Big Read initiative). The story follows a young boy, Antonio, as he comes of age with\u003cbr>\nthe guidance of his curandera (shaman) and protector Ultima. Under her wing, he will probe the family ties that bind and rend him, and discover the magical secrets of the llano (grasslands) and the river. Community engagement activities will include youth writing workshops and a workshop presentation in summer 2017.\u003c/p>\n\u003ch3>San Jose Multicultural Artists Guild Inc. (aka SJMAG)\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support dance performances featuring Lula Washington Dance Theatre, choreographed by Lula Washington, with associated outreach activities. The performances will explore African-American racial identity and experience, merging the choreographer’s reflections about important historical events, such as the Civil Rights Movement, while simultaneously exploring contemporary racial tension within the United States. Associated outreach, intended to benefit economically disadvantaged, primarily African-American students, will also include a student matinee performance, a free workshop, and free transportation for youth participants.\u003c/p>\n\u003ch3>San Jose Museum of Art Association (aka San Jose Museum of Art)\u003c/h3>\n\u003ch5>$45,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Museum\u003cbr>\nTo support an exhibition of new collaborative work by photographer Richard Misrach and composer Guillermo Galindo addressing issues related to the U.S./Mexico border. Titled \u003cem>Bordos Cantos\u003c/em>, the exhibition will juxtapose large-scale photographs by Misrach with musical instruments handcrafted by Galindo from ordinary objects collected along the border. The exhibition will be accompanied by communitywide public programming intended to serve the city’s large immigrant community.\u003c/p>\n\u003ch3>ZeroOne – The Art and Technology Network (aka ZERO1)\u003c/h3>\n\u003ch5>$20,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support the creation of new work by Tahir Hemphill. Hemphill’s solo exhibition, \u003cem>Maximum Distance Minimum Displacement\u003c/em>, builds upon research undertaken at the STUDIO for Creative Inquiry at Carnegie Mellon University. The exhibition will feature new photography, video, and sculptural works, created using data drawn from a linguistic analysis of the work of several well-known rap musicians. The project will include training of teens at the artist’s Rap Research Lab, a studio for the production of creative technology projects and a space to teach art, design, cultural analysis, media criticism, data mining, and data visualization.\u003c/p>\n\u003ch3>Los Cenzontles Mexican Arts Center (aka Los Cenzontles Cultural Academy)\u003c/h3>\n\u003ch5>$35,000 (San Pablo, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support Routes of Resilience. A series of traditional and contemporary Mexican musical performances will be presented to the Mexican-American community. Live performances, web-based videos, and recordings will highlight the immigration experience, illuminating how personal and collective resilience have guided individuals and families through the challenging transitions particular to Mexican-American communities. Some performances will be supplemented with workshops, lecture-demonstrations, film screenings, and discussions.\u003c/p>\n\u003ch3>California Film Institute (aka CFI)\u003c/h3>\n\u003ch5>$30,000 (San Rafael, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 39th Mill Valley Film Festival. The festival will present narrative, documentary, and short American and international independent films. The program also will include panels, master classes, and free daytime screenings for students.\u003c/p>\n\u003ch3>Marin Shakespeare Company\u003c/h3>\n\u003ch5>$10,000 (San Rafael, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support theater workshops at San Quentin State Prison. The workshops for incarcerated veterans, including participants with disabilities, will include the creation and performance of an original theater piece addressing veterans’ issues. Performance artist Andrew Salvage will perform for the workshop participants and will lead sessions on autobiographical playwriting. \u003c/p>\n\u003ch3>Cabrillo Festival of Contemporary Music (aka Cabrillo Music Festival)\u003c/h3>\n\u003ch5>$25,000 (Santa Cruz, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Cabrillo Festival of Contemporary Music. Under the direction of Music Director Marin Alsop, the festival orchestra will perform music by living composers. Festival concerts will be held at the Santa Cruz Civic Auditorium. Other activities will include chamber music concerts, composers-in-residence, and a workshop for conductors and composers. Past composers-in-residence have included Mason Bates, Hannah Lash, and Missy Mazzoli, among many others. Featured programming will include the commissioning and world premiere of a new work by composer Anna Clyne and a collaboration with The Choral Project, a San Jose-based chorus, on its 20th anniversary. Educational and community activities will include open rehearsals, panel discussions, and a street fair.\u003c/p>\n\u003ch3>Kuumbwa Jazz Society (aka Kuumbwa Jazz)\u003c/h3>\n\u003ch5>$15,000 (Santa Cruz, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support a concert series with NEA Jazz Master Charles Lloyd. Plans include several concerts in celebration of the 50th anniversary of Lloyd’s seminal \u003ci>Forest Flower: Live at Monterey\u003c/i> recording. Among the artists slated to perform alongside Lloyd, in differently sized ensembles and a duo-setting, are Jason Moran, Eric Harland, Reuben Rogers, Gerald Clayton, as well as 1999 NEA National Heritage Fellow Zakir Hussein. Members of the Kuumbwa Honor Jazz Band, composed of local high school student musicians, may be invited to observe preperformance sound checks and engage with the artists.\u003c/p>\n\u003ch3>Santa Rosa Symphony Association (aka Santa Rosa Symphony)\u003c/h3>\n\u003ch5>$10,000 (Santa Rosa, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a performance, a workshop, and related outreach activities featuring Venezuelan pianist Gabriela Martinez. The project is intended to serve economically disadvantaged, primarily Latino residents, and Martinez will conduct a free workshop for elementary and middle school violinists, participate in free rehearsals for the\u003cbr>\ncommunity, and offer a bilingual pre-concert talk. Organizations such Big Brothers Big Sisters of the North Bay, the YWCA Sonoma County, California Parenting Institute, the Boys and Girls Club Central Santa Rosa, and Hanna Boys Center – selected for their ties to local, underserved communities – will assist with targeted outreach and free ticket distribution for the main stage performance at the Green Music Center.\u003c/p>\n\u003ch3>Montalvo Association (aka Montalvo Arts Center)\u003c/h3>\n\u003ch5>$15,000 (Saratoga, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities\u003cbr>\nTo support residencies and related activities. Selected emerging and mid-career American artists from diverse disciplines will be offered fully funded residencies. Artists will present their work on-site and in the community through exhibitions and performances, as well as through educational and outreach activities.\u003c/p>\n\u003ch3>Headlands Center for the Arts (aka Headlands)\u003c/h3>\n\u003ch5>$35,000 (Sausalito, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities/Imagine Your Parks\u003cbr>\nTo support artist residencies, an alumni new works program, and an artist commissioning program. Residencies will focus on emerging and mid-career artists. The alumni new works and commissioning programs will offer support for special projects created by past participating artists and local artists. The commissioning program’s goals include supporting and investing in artists whose work will impact the cultural landscape; providing artists with the support to produce a project which might not otherwise happen; and encouraging artists to make work inspired by the Marin Headlands, part of the National Park Service.\u003c/p>\n\u003ch3>Voice of Roma (aka VOR)\u003c/h3>\n\u003ch5>$35,000 (Sebastopol, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support \u003cem>Opre Khetanes! (Rise Up Together!): Romani Culture in Diaspora\u003c/em>. The cultural contributions of the Roma Gypsies will be explored through a symposium and multi-city tour of Romani artists, including 2011 NEA National Heritage Fellow Yuri Yunakov. The tour will begin at New York University and conclude at the Voice of Roma’s annual Herdeljezi Festival in San Francisco.\u003c/p>\n\u003ch3>Stanford Jazz Workshop (aka SJW)\u003c/h3>\n\u003ch5>$20,000 (Stanford, CA)\u003c/h5>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Middle School Jazz Initiative, including Giant Steps Day Camp, Giant Steps Jazz Singers, and Giant Steps Big Band ensemble. This jazz education program enables middle school students to interact with master jazz educators and artists through year-round, weekly after-school instrumental music instruction. The middle\u003cbr>\nschool programs all share the program name “Giant Steps,” to not only indicate the progress the students make as a result of participating, but also refers to the jazz composition, “Giant Steps” by the late John Coltrane. Giant Steps program directors and faculty are selected for their extensive experience and recognized success teaching jazz at the middle school level. Taught at local host school sites and during SJW’s jazz immersion camps in the summer on the Stanford University campus, students follow a personalized curriculum that includes improvisation, jazz styles, ear training, technique, and playing in small and large ensembles. The program culminates in a final public performance at the end of each academic semester and at the end of each week of jazz immersion camp.\u003c/p>\n\n",
"blocks": [],
"excerpt": null,
"status": "publish",
"parent": 0,
"modified": 1726763849,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 97,
"wordCount": 9220
},
"headData": {
"title": "NEA Awards $27M in Grants for 2016, Over $2M for Bay Area Orgs | KQED",
"description": "Kicking off its 50th year, the National Endowment for the Arts (NEA) announced on Tuesday that it was awarding $27 million in grants to American art organizations, with $2,085,000 going to groups in the Bay Area. In its first 50 years, the NEA has reportedly provided more than $5 billion in grants to arts organizations in every state. This year, the endowment is supporting well over 1,100 projects, with many of them located right here in the Bay Area. The local organizations receiving funds range from long-established theater companies like Berkeley Rep, to experimental dance troupes like Project Bandaloop to",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "NEA Awards $27M in Grants for 2016, Over $2M for Bay Area Orgs",
"datePublished": "2015-12-08T16:40:56-08:00",
"dateModified": "2024-09-19T09:37:29-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11146612/nea-awards-27m-in-grants-for-2016-over-2m-for-bay-area-orgs",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kicking off its 50th year, the National Endowment for the Arts (NEA) announced on Tuesday that it was awarding $27 million in grants to American art organizations, with $2,085,000 going to groups in the Bay Area.\u003c/p>\n\u003cp>In its first 50 years, the NEA has reportedly provided \u003ca href=\"https://www.arts.gov/news/2015/27-million-awarded-arts-projects\" target=\"_blank\" rel=\"noopener\">more than $5 billion in grants\u003c/a> to arts organizations in every state. This year, the endowment is supporting well over 1,100 projects, with many of them located right here in the Bay Area.\u003c/p>\n\u003cp>The local organizations receiving funds range from long-established theater companies like Berkeley Rep, to experimental dance troupes like Project Bandaloop to audio recording programs like Women’s Audio Mission. \u003c/p>\n\u003cp>Below is all of the Bay Area organizations that will be receiving \u003ca href=\"https://www.arts.gov/sites/default/files/Fall_2015_State_grant_list.pdf\" target=\"_blank\" rel=\"noopener\">NEA grants in 2016\u003c/a>. (According to the NEA, some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Information is current as of Dec. 1, 2015.) \u003c/p>\n\u003ch3>\nBerkeley Repertory Theatre (aka Berkeley Rep)\u003c/h3>\n\u003ch5>$50,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the creation and development of new work in The Ground Floor Center program. The Center encompasses Berkeley Rep’s efforts to sustain and develop relationships with both emerging and mature artists.\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 project will include commissions, workshops, and a summer residency lab. The laboratory space will allow nontraditional artists to take risks in developing groundbreaking work on a large scale and will offer a flexible and supportive environment for artists to work collaboratively across disciplines. By inviting the audience and community into the creative process, the theater maintains an ongoing conversation about the emerging work.\u003c/p>\n\u003ch3>Gamelan Sekar Jaya\u003c/h3>\n\u003ch5>$20,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support Artists-in-Residence from Bali, Indonesia. Guest artists, including composers and a choreographer, will create and direct new work exploring and celebrating artistic precision embedded within Balinese arts. In addition to performing in concerts and offering workshops to the public, the resident artists will work closely with the musicians of Gamelan Sekar Jaya to refine and maintain important classic Balinese works.\u003c/p>\n\u003ch3>Kala Institute (aka Kala Art Institute)\u003c/h3>\n\u003ch5>$10,000 Berkeley, CA\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE: \u003c/strong>Artist Communities\u003cbr>\nTo support residencies and related activities. National and international artists will be provided the time and materials to work in book arts, electronic/digital media, installation, photography, and printmaking. The new bodies of work will be presented through exhibitions, performances, and public programs.\u003c/p>\n\u003ch3>National Film Preserve, Ltd. (aka Telluride Film Festival)\u003c/h3>\n\u003ch5>$50,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the Telluride Film Festival. Held during Labor Day weekend, the event includes the presentation of feature-length and short films from the United States and abroad as well as panel discussions, retrospectives, and educational programs. Recent festivals have included the premieres of films such as \u003cem>12 Years A Slave\u003c/em>, \u003cem>The Act of Killing\u003c/em>, \u003cem>Gravity\u003c/em>, \u003cem>Pina,\u003c/em> \u003cem>Argo\u003c/em>, and \u003cem>Birdman\u003c/em>. Held each year in Telluride, Colorado, the festival is devoted to promoting the discovery of new trends and directions in film as well as to unveil lost masterpieces and unheralded artists of the past. Festival programming will also include free public events such as daytime seminars and interviews with filmmakers.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley\u003c/h3>\n\u003ch5>$10,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support Cinema Mon Amour, a curated exhibition series. Presented at the Pacific Film Archives in downtown Berkeley, the series will invite acclaimed filmmakers and Bay Area artists to present films that have inspired and influenced them. Potential artists include Jane Campion, Daniel Clowes, and Jean-Marie Teno.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley (On behalf of Berkeley Art Museum)\u003c/h3>\n\u003ch5>$30,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Museum\u003cbr>\nTo support public programs for an exhibition about architecture and life’s experiences. These programs will reflect the content of an inaugural exhibition \u003cem>Architecture of Life\u003c/em>, that examines the transformative nature of art and architecture against the backdrop of the Berkeley Art Museum’s new downtown building. Works by artists and architects in the exhibition include George Ault, Marcel Duchamp, Lee Bontecou, Louise Bourgeois,Buckminster Fuller, Diller Scofidio + Renfro and many others. Lectures, gallery talks, art-making workshops, school and family programs, and live performances are among the public programs that will engage audiences.\u003c/p>\n\u003ch3>Regents of the University of California at Berkeley (On behalf of Cal Performances)\u003c/h3>\n\u003ch5>$35,000 (Berkeley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music/Imagine Your Parks\u003cbr>\nTo support the Cal Performances’ Saint Louis Symphony residency and a collaboration with the Trust for Public Land, an Imagine Your Parks project. Cal Performances will present the Saint Louis Symphony with Music Director David Robertson in a multi-day residency on the Berkeley, California campus, which will be anchored by a performance of French composer Olivier Messiaen’s “Des canyons aux etoiles… (From the canyons to the stars…),” a work commissioned by Alice Tully in 1971 for the bicentennial celebration of the United States of America. The performance will be accompanied by a visual installation by landscape photographer Deborah O’Grady designed to capture the grandeur of Utah’s desert landscapes. A co-commission with Los Angeles Philharmonic, Saint Louis Symphony Orchestra, Sydney Symphony Orchestra, and Washington Performing Arts, the performance will celebrate the centenary of the National Park Service. Using Cal Performances’ model of artistic literacy, staff will engage local middle- and high school students in a creative process inspired by Messiaen’s work and the landscape photography of Ms. O’Grady. The Trust will document and disseminate the process and the work online.\u003c/p>\n\u003ch3>Healdsburg Jazz Festival, Inc. (aka Healdsburg Jazz)\u003c/h3>\n\u003ch5>$20,000 (Healdsburg, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Oceans of Time: A Journey Through the Music of Billy “Jabali” Hart component of the Healdsburg Jazz Festival. The two-day mini-festival will celebrate the diverse career, creative vision, and impact of drummer Billy Hart. Proposed programming includes a reunion of Hart with his pioneering Enhance and Quest ensembles as well as performances by his Oceans of Time group and his current quartet with pianist Ethan Iverson, Ben Street, and Mark Turner. Other participating artists may include NEA Jazz Master Dave Liebman as well as Geri Allen, Steve Coleman, Mark Feldman, Eddie Henderson, Dave Holland, Oliver Lake, Billy Harper, and other musicians Hart has performed with throughout his career.\u003c/p>\n\u003ch3>Marin Theatre Company (aka MTC)\u003c/h3>\n\u003ch5>$20,000 (Mill Valley, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “Swimmers” by Rachel Bonds. The play is set in a business industrial park and its plot travels up the floors of an office building in which no one does any work. The news of a sexual harassment case quickly ascends the building’s 11 floors and eventually ends up on the roof. As the details of the situation become more ambiguous and surreal, coyotes howl in the distance and the end of the world may be nigh. \u003cem>Swimmers\u003c/em> will feature a multicultural cast and will mark Bonds’ premiere as a playwright in California’s Bay Area.\u003c/p>\n\u003ch3>AXIS Dance Company (aka AXIS)\u003c/h3>\n\u003ch5>$20,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support Dance Access Education and Outreach programs in the Bay Area and on a national tour. AXIS will offer a variety of events for youth and adults with and without disabilities who are based locally and nationally.\u003c/p>\n\u003cp>Project activities may include dance classes, school assemblies, a dance camp for youth, teacher training, and a dance apprentice program for students with spinal cord injuries. Additional activities may comprise workshops for emerging choreographers and professional dancers, community workshops, lecture-demonstrations, and presentations. A new program that will be offered locally and while on tour will include open rehearsals and movement experience for veterans.\u003c/p>\n\u003ch3>Destiny Arts Center (aka Destiny Arts)\u003c/h3>\n\u003ch5>$20,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support Destiny Arts Youth Performance Company’s collaboration with professional dancers, choreographers, and theater artists, culminating in dance theater productions that express life challenges and aspirations. Productions will combine hip-hop, modern, and aerial dance with acting and dramatic recitation. The project will support rehearsals leading up to a spring performance as well as auditions, retreat, and rehearsal for a fall performance. Students will have many opportunities to perform in self-produced concerts, conferences, festivals, and other community venues.\u003c/p>\n\u003ch3>East Bay Performing Arts (aka Oakland East Bay Symphony)\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE: Music\u003c/strong>\u003cbr>\nTo support the creation and premiere of a new work by composer Van-Anh Vanessa Vo performed by Oakland Symphony with related educational activities. The work, titled “Notes from Vietnam” will be scored for orchestra and dan tranh, a traditional Vietnamese zither. The premiere will feature the composer as soloist. Communityevents may include workshops on Vietnamese culture and traditional music instruments as well as performances by the composer’s dan tranh zither students.\u003c/p>\n\u003ch3>International Society for the Arts, Sciences and Technology (aka Leonardo)\u003c/h3>\n\u003ch5>$15,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities\u003cbr>\nTo support residencies for artists and scientists. Artists whose works are inspired by mathematics or scientific disciplines will connect with scientists who are involved in art-related research and/or who are artist themselves at Leonardo. Previously, Santa Cruz choreographer mathematician/educator Karl Schaffer collaborated with Spanish physicist Guillermo Munoz to create a new dance based on string polyhedra. Additional activities will include presentations of the residents’ work in public forums, as well as the publication of their work in an international journal and online.\u003c/p>\n\u003ch3>Kitka, Inc. (aka Kitka Women’s Vocal Ensemble)\u003c/h3>\n\u003ch5>$15,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the creation and presentation of “Iron Shoes.” The ensemble will work in collaboration with stage director/choreographer Erika Chong Shuch and members of her dance-theater company The ESP Project, as well as composer Janet Kutulas and production designer Allen Willner, to create a multidisciplinary piece inspired by Eastern European fairy tales. The artists will explore themes of female empowerment and disempowerment, confinement and mobility, youth and age, daily life and dreams, and the relationship to self.\u003c/p>\n\u003ch3>Living Jazz\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support: In the Name of Love, the 14th Musical Tribute Honoring Dr. Martin Luther King, Jr. The tribute will include the Oakland Interfaith Gospel Choir and the Oakland Children’s Community Choir, as well as proposed vocalists Paula West, Terrance Kelly, Patti Cathcart, Zoe Ellis, and Destani Wolff, specializing in the performance of jazz and gospel music. The event, intended to serve a predominantly African-American community, will also include a tribute to vocalist, pianist, and composer Nina Simone. \u003c/p>\n\u003ch3>Oakland Interfaith Gospel Choir, Inc. (aka OIGC)\u003c/h3>\n\u003ch5>$10,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a free gospel concert featuring pianist, composer, and arranger Dr. Edwin Hawkins, with related outreach. The project, intended to serve economically disadvantaged, primarily African-American residents, will feature the world premiere of “I Ain’t Here To Stay,” a new vocal suite about African-American male slave experiences, influenced by traditional spirituals and composed by vocalist Terrance Kelly. Hawkins will also premiere his own new compositions and conduct a performance that will include gospel choirs such as the Arcata Interfaith Gospel Choir, the Universal Gospel Choir, the Portland Interfaith Gospel Choir, the Limon Interfaith Gospel Choir, the SKRUK choir, and the Total Experience Gospel Choir. Associated outreach activities\u003cbr>\nwill include workshops and panel discussions covering composition, choir management, organizational growth, board development, and performance techniques for choirs and solo vocalists. \u003c/p>\n\u003ch3>Project Bandaloop (aka BANDALOOP)\u003c/h3>\n\u003ch5>$30,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance/Imagine Your Parks\u003cbr>\nTo support the creation and presentation of a dance work to commemorate the National Park Service’s centennial, an Imagine Your Parks project. Coyote Waltzes by Artistic Director Amelia Rudolph will explore the Native American myth of the trickster coyote through dances. The work will be performed on mountains in Yosemite National Park. Young performers from Oakland’s Destiny Arts will be involved in the execution of the work. The company also will work with Yosemite staff to connect the next generation of park stewards to its mission, introducing them to environmental responsibility and conservation through the project. The work will be presented to the public through social media platforms and livestreaming. BANDALOOP also plans to share\u003cbr>\nthe work through interactive projections of the performance on city buildings. “Coyote Waltzes” will culminate in a performance on the Great Wall in Oakland.\u003c/p>\n\u003ch3>Youth Radio\u003c/h3>\n\u003ch5>$60,000 (Oakland, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Arts Pathway initiative for youth. Participating students from underserved communities will receive mentoring from professional artists, develop platforms to distribute their art at the community and national level, and operate downtown Oakland’s only storefront youth arts center (known as 1719 Broadway). Works created in the Arts Pathway program will be presented to public audiences, displayed in public spaces, and distributed through a national media network.\u003c/p>\n\u003ch3>East Bay Center for the Performing Arts\u003c/h3>\n\u003ch5>$65,000 (Richmond, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Young Artist Diploma Program. The project is a multi-year dance, media, music, and theater training program for middle and high school students from underserved communities in west Contra Costa County. Professional artists will teach ongoing group classes and individual lessons that will take place in the Iron Triangle Neighborhood of Richmond, California. In addition to Western art forms (classical music, ballet, jazz, contemporary dance, hip-hop, voice), instruction is also offered in the music and dance of Mexico, West Africa, and Laos, and the Caribbean. After the fourth year, some students can continue to be involved in the program as paid teaching assistants, mentoring younger students. The participating students will receive individual coaching and increased opportunities for solo and small ensemble performances at a wide variety of community and professional events.\u003c/p>\n\u003ch3>Each One Reach One\u003c/h3>\n\u003ch5>$20,000 (S. San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Playwriting Workshops. The program will provide arts education services to incarcerated teenagers. Each workshop cycle will provide as many as ten, three-hour sessions to detainees who will be mentored one-on-one to create and develop one-act plays. Workshops will take place inside San Francisco’s\u003cbr>\nJuvenile Justice Center, the Success Center of the San Francisco Youth Summer Program, the San Mateo County Youth Services Center, and Camp Kemp for Girls. Participants will learn how to articulate a dramatic narrative, explore conflict through dialogue, create characters, and how to write a dramatic climax and resolution. Each\u003cbr>\nworkshop will culminate with the reading of participants’ plays by professional actors before an audience of parents, peers, teachers, probation officers, and invited members of the public.\u003c/p>\n\u003ch3>3rd I South Asian Independent Film (aka 3rd i Films)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support the San Francisco International South Asian Film Festival. The festival will screen full-length features, documentaries, and short films by independent South Asian filmmakers from the United States, India, Pakistan, Bangladesh, Sri Lanka, Canada, and Europe. The festival’s focus – its screenings, media artist presentations, and panel discussion – is intended to offer a diverse range of perspectives on the lives of South Asian people in places through the world.\u003c/p>\n\u003ch3>Asian American Women Artists Association (aka AAWAA)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a multidisciplinary art exhibition inspired by the life and work of Japanese-American civil rights leader Yuri Kochiyama. The exhibition will feature invited and juror-selected emerging and established artists from around the country. Priority outreach will be focused on Asian- and Pacific Islander-American, AfricanAmerican,\u003cbr>\nand Latino communities, but the exhibition will be open to artists of all ethnicities and genders. Exhibition programming will include a panel discussion. The primary exhibition site will be SOMArts Culture Center in San Francisco, with a smaller satellite exhibition held in Oakland.\u003c/p>\n\u003ch3>Bay Area Video Coalition, Inc. (aka BAVC)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the provision of video and audio preservation services. Through the Preservation Access Program, the Bay Area Video Coalition will work with media artists and cultural organizations to ensure that artistically significant works are preserved and made available to the public for live and online exhibitions. Approximately\u003cbr>\n300 hours of audiovisual material as well as media in early digital formats are expected to be preserved. Recent clients include The Other Minds Music Festival, Dance Theatre of Harlem, The Poetry Center and American Poetry Archive, and Video Data Bank.\u003c/p>\n\u003ch3>Bayview Hunters Point Center for Arts & Technology (aka BAYCAT)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the BAYCAT Youth Powered Media Program. Students will develop skills such as artistic expression, critical thinking, and effective communication, while receiving comprehensive instruction in digital media arts technology. As youth media producers, students will collaborate to create programming for the award-winning, youth-created TV show, “Zoom In.”.\u003c/p>\n\u003ch3>Center for Asian American Media (aka CAAM)\n\u003ch3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003c/h3>\u003c/h3>\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support CAAMFest 2016, a media arts festival showcasing the work of Asian and Asian-American artists. Held in San Francisco, Berkley, Oakland, and San Jose, the festival features film, music, and digital media as well as live events and multimedia performances. Festival programming will include screenings from the filmmaking workshop “Muslim Youth Voices” and works portraying untold stories of Asian and Asian-American experience.\u003c/p>\n\u003ch3>Center for the Art of Translation\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Literature\u003cbr>\nTo support the publication and promotion of print and electronic versions of the journal “Two Lines,” as well as books in translation. Dedicated to building an audience for world writing, the journal often features writers who are well known in their own languages but unknown in English. Books selected for publication will highlight the ethnic, cultural, and gender diversity of international literature.\u003c/p>\n\u003ch3>Community Music Center (aka CMC)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Young Musicians Program (YMP). This free program for diverse middle and high school students from underserved communities focuses on a variety of musical styles including Latin, Jazz, popular, and classical. The Mission District YMP is a bilingual program primarily for Latino youth and focuses on repertoire and skills\u003cbr>\nfundamental to Latin traditional and popular music. YMP works with students nominated by their public school music teachers to study chamber music, jazz, and string orchestra. The project also provides group classes in chamber music, jazz and string orchestra, and theory and music history to advanced students. Each component provides multiple community-based performance opportunities for youth.\u003c/p>\n\u003ch3>CounterPulse\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the CounterPULSE Artist Residency and Commissioning (ARC) Program. The program will identify local emerging and mid-career choreographers whose work is ready to be appreciated by a larger audience. CounterPULSE will provide space and support for those artists to create new dances. During the residency, some of the artists will develop, teach, and perform new works. Other artists will be commissioned to continue developing their works into full length world premieres. Residency tracks include Edge, focusing on contemporary work; Performing Diaspora, focusing on culturally specific work on the edge of tradition; and Combustible, focusing on innovative and culturally engaged work. Activities may also include dance workshops for the public taught by the artists-in-residence, and work-in-progress showings where residents and the public provide feedback on the work. The residencies will culminate in a fully produced premiere of the works, which will run during two weeks.\u003c/p>\n\u003ch3>Crowded Fire Theater Company (aka Crowded Fire)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “On a Wonderverse” by Geetha Reddy. The second in Reddy’s trilogy of plays inspired by Hindu mythology, the play centers on the deity Shiva the Destroyer. The work also explores the intersection between physics, women in science, and Hindu mythology. Set at CERN’s (the European Council for Nuclear Research) Large Hadron Collider in Switzerland, a brilliant young physicist Alpheratz Schen leads a research team, but is overlooked when her male co-author receives the coveted Nobel Prize. Her frustration leads to another discovery that has the potential to unleash critical insight into the origins of life. The theater may partner with California Girls in STEM at The Lawrence Hall of Science as well as the Stanford branch of Tech Trek, a science camp for eighth-grade girls, to create conversations between the artists and young women around the issues in the play.\u003c/p>\n\u003ch3>Cutting Ball Theater\u003c/h3>\n\n\u003cp>$10,000 (San Francisco, CA)\n\u003c/p>\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the development and premiere of “Ondine” by Katharine Sherman. Based on an ancient mermaid myth that inspired Jean Giraudoux’s seminal 1938 work of the same title and Hans Christian Andersen’s \u003cem>The Little Mermaid\u003c/em>, Sherman’s \u003cem>Ondine\u003c/em> is a contemporary retelling of the story of a water spirit who comes to land\u003cbr>\nto be with her lover. The production will be directed by Founding Artistic Director Rob Melrose. The playwright will be in residence in San Francisco for the duration of the rehearsal period leading up to the world premiere production.\u003c/p>\n\u003ch3>Exploratorium\u003c/h3>\n\u003ch5>$40,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of multidisciplinary works and performances celebrating the importance of light to the arts. Using items such as emulsion, film, lenses, mirrors, projectors, and screens, artists will create work that illuminates the physics of light that are fundamental to their creative practices. Exploratorium stresses that a transparent creative process and experiential learning will lead to a meaningful understanding of the project’s complex theme.\u003c/p>\n\u003ch3>Eyes and Ears Foundation (aka San Francisco International Arts Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support international artists at the San Francisco International Arts Festival. The festival will feature a variety of performances by artists from the Bay Area and approximately 10 different countries. Artist fees, per diems, hotel costs and legal fees to support international artists performing at the San Francisco Arts Festival.\u003c/p>\n\u003ch3>Fort Mason Center\u003c/h3>\n\u003cp>$20,000 San Francisco, CA\u003cbr>\nFIELD/DISCIPLINE: Presenting & Multidisciplinary Works/Imagine Your Parks\u003cbr>\nTo support \u003cem>The Rainbow: Certain Principles of Light and Shapes Between Forms\u003c/em>, an Imagine Your Parks project. The Fort Mason Center will project a dense waterwall created by installation artist Michael Jones McKean at timed intervals to reveal a rainbow over the center’s three piers that extend into the San Francisco\u003cbr>\nBay. An accompanying exhibition created by McKean will include historical objects from the area. Fort Mason Center is located within the Golden Gate National Recreation Area, part of the National Park Service.\u003c/p>\n\u003ch3>Frameline (aka San Francisco International LGBT Film Festival)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the presentation and expansion of Frameline Encore, a year-round film exhibition program. All screenings are free. This year, the San Francisco International LGBT Film Festival program will include continued expansion to locations in Oakland, Berkeley, and surrounding areas in the East Bay. Feature-length and short film programs representing the LGBTQ community will be shown at each venue.\u003c/p>\n\u003ch3>Garrett Moulton Productions (aka Garrett Moulton Productions)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of an evening-length work, by Co-Artistic Directors Janice Garrett and Charles Moulton. Titled \u003ci>To Hear the Angels Sing,\u003c/i> the work will explore the themes of transcendence and hope, and will be a large-scale new work comprised of Garret + Moulton’s six company dancers; an 18-dancer\u003cbr>\n“movement choir;” a chorus of 12 singers who will be integrated into the stage action; and an ensemble of eight musicians. The work will premiere at the Yerba Buena Center for the Arts in San Francisco and will include open rehearsals and post-show question-and-answer sessions.\u003c/p>\n\u003ch3>Golden Thread Productions\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the premiere of “The Most Dangerous Highway in the World” by Kevin Artigue, and the West Coast premiere of \u003ci>Our Enemies: Lively Scenes of Love and Combat\u003c/i> by Yussef El Guindi. Set on the Jalalabad-Kabul Highway in Afghanistan. Artigue’s play portrays a precocious nine-year-old “business man” who survives by\u003cbr>\nselling old fish to truck drivers and the random passersby. Through humor and with poignant honesty, the playwright creates a world that is both foreign and familiar. \u003c/p>\n\u003cp>The production will introduce a new theatrical voice and will deepen the theater’s relationship with the Bay Area’s Afghan population. Golden Thread has served as an artistic home for Arab-American playwright El Guindi for more than 15 years. The theater will produce the second production of his play about the politics of representation in the publishing industry.\u003c/p>\n\u003ch3>Idris Ackamoor & Cultural Odyssey (aka Cultural Odyssey)\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the creation and production of \u003cem>When Did Your Hands Become a Weapon\u003c/em>. Cultural Odyssey CoArtistic Director Rhodessa Jones, who is also the director of the Media Project: Theater for Incarcerated Women, will collaborate with the Women’s HIV Program at the University of San Francisco Medical Center to develop a\u003cbr>\nmusical theater work focusing on the issues of violence and addiction. The Media Project uses the performing arts to work with female inmates and ex-inmates. Jones will utilize its longstanding method to empower women currently living in the community with HIV. Community forums will share information on HIV and encourage women living with the disease to develop supportive networks, overcome additions, and to leave abusive partners.\u003c/p>\n\u003ch3>inkBoat, Inc. (aka inkBoat)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works/Imagine Your Parks\u003cbr>\nTo support the creation and presentation of “The Monster and the Hero” an Imagine Your Parks project. inkBoat will collaborate with the theater company We Players and the Rova Saxophone Quartet to create a new multidisciplinary work inspired by \u003cem>Beowulf\u003c/em>. Working in the San Francisco Maritime National Historical Park and adjacent Fort Mason, the artists will draw inspiration from the National Park Service sites, including Coast Miwok people settlements, U.S. military history, and historic ships. Workshop performances will be open to the public leading up to the premiere of the site-specific work.\u003c/p>\n\u003ch3>Joe Goode Performance Group\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of a new work by choreographer Joe Goode. The work will be performed to an original score by French string quartet Quatuor. Goode’s inspiration for the work is the French village Oradour-sur-Glane, which was completely demolished during the Nazi occupation of France. Goode and his company will interview residents of the village and their responses to the work will become verbatim text incorporated in the work. The work will premiere in San Francisco after its premiere in France during the Festival du Haut Limousin.\u003c/p>\n\u003ch3>Kitchen Sisters Productions (aka The Kitchen Sisters)\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support distribution of the podcast Fugitive Waves. Incorporating a documentary archive of interviews, music, field recordings, and audio, the program is devoted to telling little-known stories of culture, ritual, and tradition. Archival works will be digitized, prepared for distribution, and public access to the program will offered through the podcast and additional digital platforms. In 2016, episodes will include features on the lives, history, tradition, food, music, and rituals of Native Americans, Alaskan Natives, and native Hawaiians.\u003c/p>\n\u003ch3>Kronos Performing Arts Association (aka KRONOS QUARTET)\u003c/h3>\n\u003ch5>$40,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cb>FIELD/DISCIPLINE:\u003c/b> Music\u003cbr>\nTo support year one of Fifty for the Future, a commissioning project by the Kronos Quartet. Plans include the creation of five string quartets for players of multiple skill levels (ranging from beginner to pre-professional). Scores, individual parts, and an array of other project materials will be available online at no charge. Premieres of the new works will take place in conjunction with residencies throughout the country. Educational activities will include master classes and workshops.\u003c/p>\n\u003ch3>Kulintang Arts (aka Kularts)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support \u003cem>Mariang Makiling\u003c/em>, a Filipino dance theater production and associated activities. Filipino folkloric choreographer Jay Loyola and musician and composer Florante Aguilar will work with Kularts to develop the piece inspired by Philippine myths and native spirituality. In advance of the public performance, Loyola will present an advanced dance workshop for members of the folkloric dance community.\u003c/p>\n\u003ch3>LEVYdance, Inc. (aka LEVYdance)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support AMP (Artists Maximizing Potential), a program that seeks to innovate the single choreographer dance company model. Choreographer Sara Shelton Mann and her dancers will engage in an eight-week residency to create a new work with LEVYdance. The program will support the artistic process from the research and development phase, to production and touring, and will include a technical residency at ODC Theater. The program will culminate in a performance and tour of the new work.\u003c/p>\n\u003ch3>Lighthouse for the Blind and Visually Impaired (aka LightHouse for the Blind)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support Superfest, an international disability film festival. The festival will showcase multi-genre films complemented by panel discussions with filmmakers, actors, disability leaders, and audience members. The festival will provide assisted listening systems, live captioning, braille, large print programs, and audio description. \u003c/p>\n\u003ch3>Magic Theatre, Inc. (aka Magic Theatre)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Mid-Career Playwright Initiative. Playwright Jessica Hagedorn will be in residence to continue developing her seminal theater work “Dogeaters” and to create an adaptation for the stage of her novel, \u003cem>Gangster of Love\u003c/em>. She may revise the text of \u003cem>Dogeaters\u003c/em> to incorporate additional dialogue in Tagalog to make the play bilingual. The play will be produced for a San Francisco premiere and may feature immersive and interactive design and staging that will allow audiences to access the play’s exuberant and unpredictable world more closely. A possible approach may be transforming a found space in San Francisco’s historically Filipino Tenderloin neighborhood into the underground Manila disco in which the events of the play unfold. Community and student outreach efforts will accompany the production.\u003c/p>\n\u003ch3>Margaret Jenkins Dance Studio, Inc. (aka Margaret Jenkins Dance Company)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of \u003cem>Site Series 2 (Inside Outside)\u003c/em>. Propelled by the vagabond nature of being a performance artist, a metaphor for all of life’s journeys, Margaret Jenkins and her company will choreograph small, site-specific works to be performed in non-traditional spaces, like churches, homes, and museums. The works can be presented as individual vignettes or as a complete evening-length work.\u003c/p>\n\u003ch3>ODC (aka Oberlin Dance Collective)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the creation and presentation of new dance works. Co-Artistic Director Brenda Way will choreograph, \u003cem>Walk Back the Cat\u003c/em>, to a commissioned score by composer Paul Drescher, with set design by Alex Nichols. Guest artist Kate Weare will choreograph \u003cem>Criss Cross\u003c/em>. The works will premiere at the Yerba Buena Center for the Arts prior to touring to Chico, California, and White Bird in Portland, Oregon.\u003c/p>\n\u003ch3>ODC Theater\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the ODC Theater Presents program. The project will include The Walking Distance Dance Festival-SF, as well as presentations of Monique Jenkinson’s mini-series, \u003cem>Gender in Transition\u003c/em>, French-Algerian Compagnie Herve Koubi’s \u003cem>What the Day Owes to The Night\u003c/em>, Scott Wells’ and Keith Hennessy’s \u003cem>Touchy Subjects\u003c/em>, RAWdance’s \u003cem>Double Exposure\u003c/em>, and Hope Mohr Dance’s \u003cem>Manifesting\u003c/em>. ODC Theater’s primary mission is to be the West Coast’s premier venue for the contemporary performing arts and a home to nurture artists.\u003c/p>\n\u003ch3>Philharmonia Baroque Orchestra (aka Philharmonia)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support period-instrument performances of an all-Mozart concert program. Under the direction of Music Director Nicholas McGegan, the project will feature guest artist keyboardist Kristian Bezuidenhout, who will perform on the pianoforte. Programming will include such works by Wolfgang Amadeus Mozart as Concerto for\u003cbr>\nFortepiano no. 23 in A major, Symphony No. 27 in G major, and Symphony No. 39 in E-flat major. The project will celebrate Nicholas McGegan’s 30th anniversary as music director of the orchestra.\u003c/p>\n\u003ch3>Playwrights Foundation, Inc. (aka Playwrights Foundation)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Bay Area Playwrights Festival. The festival will include an artistic retreat, studio development of new plays, and publicly staged showings of full-length plays. Festival plays for staged readings will be selected through a competitive submission process. The festival also will present a workshop production of a play in development at a partner theater. Other festival activities will include a young theater-makers event, mentorship for emerging scenic designers, and an industry weekend, during which national new play producers are invited to San Francisco to see the plays.\u003c/p>\n\u003ch3>San Francisco Arts Commission\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Local Arts Agencies\u003cbr>\nTo support Affordable Housing and Sustainable Communities for San Francisco Artists. Working in partnership with the Mayor’s Office of Housing, the Council of Community Housing Organizations, and private developers, the commission will offer comprehensive services integrating outreach, education, individualized support, workshops, peer-support, and access to the municipal services necessary to meet the basic eligibility requirements for affordable housing. Outreach will focus on low- to moderate-income artists to ensure that individuals are aware of the affordable housing options available.\u003c/p>\n\u003ch3>San Francisco Camerawork, Inc. (aka SF Camerawork)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support an exhibition and publication series by emerging and underrepresented national and international artists. The selected artists will receive conceptual, logistical, financial, and administrative support to develop their work. The series will include gallery exhibitions in San Francisco, including public programming and the publication of three accompanying books with critical essays.\u003c/p>\n\u003ch3>San Francisco Contemporary Music Players (aka SFCMP)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support an artist residency project. The ensemble will present a residency, titled \u003cem>X-SCAPE: New Spaces for New Music\u003c/em>, which will explore space in the physical, metaphorical, and poetic sense, at the Z-Space Theater Artaud, in the Mission District of San Francisco. Programming will include works by composers such as David Lang, Gerard Grisey, Marianthi Papalexandri-Alexadri, Zosha DiCastri, Louis Andreissen, and Morton Feldman. Project activities will include educational events, such as pre-concert discussions, artistic director and composer talks open to the public, and student rehearsals with the ensemble.\u003c/p>\n\u003ch3>San Francisco Film Society (aka SFFS)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 59th San Francisco International Film Festival, and other curated film series. Held in the spring, the festival includes films from around the world, educational programs, and live performances. Additional programming throughout the year will include a series devoted to cinema from Hong Kong, and Screenings in Schools, in which students view films and engage with the filmmakers in person or via Skype. In partnership with the San Francisco Museum of Modern Art, SFFS presents a year-round series celebrating established and emerging masters of cinema.\u003c/p>\n\u003ch3>San Francisco Jazz Organization (aka SFJAZZ)\u003c/h3>\n\u003ch5>$45,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the SFJAZZ Collective’s commissioning, development, and performance of new original works by each member and arrangements of music by Michael Jackson. The ensemble will play as many as 18 live concerts on its 2016 national tour and present pre-concert talks, engage in master classes, workshops, school programs, and outreach events in tour cities which will include West Lafayette and Carmel, Indiana; Dubuque, Iowa; Louisville, Kentucky; North Bethesda, Maryland; Boston, Massachusetts; Detroit, Michigan; Saint Louis, Missouri; New York, New York; Pittsburgh, Pennsylvania; as well as Dallas and Houston, Texas. The SFJAZZ Collective members are Obed Calvaire, Robin Eubanks, Sean Jones, Matt Penman, Davis Sanchez, Edward Simon, Warren Wolf, and Miguel Zenon.\u003c/p>\n\u003ch3>San Francisco Jewish Film Festival (aka San Francisco Jewish Film Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 36th San Francisco Jewish Film Festival and related activities. Held in the summer, the festival hosts film screenings, live music, and panel discussions in celebration of Jewish culture and tradition. Recent films screened at the festival included Doug Block’s \u003cem>112 Weddings\u003c/em>, \u003cem>The Green Prince\u003c/em> by Nadav Schirman, and \u003cem>Theodore Bikel: In the Shoes of Sholom Aleichem\u003c/em> by John Lollos.\u003c/p>\n\u003ch3>San Francisco Opera Association (aka San Francisco Opera)\u003c/h3>\n\u003ch5>$90,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Opera\u003cbr>\nTo support the world premiere of \u003cem>Dream of the Red Chamber\u003c/em> by composer Bright Sheng with a libretto by playwright David Henry Hwang and Sheng. The text was written in the 18th century by Cao Xueqin, and is considered one of China’s four great classical novels, telling the story of a heartbreaking and timeless love\u003cbr>\ntriangle. The creative team may include Tony Award-winner David Henry Hwang, playwright and director Stan Lai, Academy Award-winning designer and art director Tim Yip, conductor George Manahan, and contralto Qiu Lin Zhang. Outreach activities will focus on the local and national Chinese-American community, college/university programs in music and Chinese/Asian studies, and cultural institutions in the Bay Area such as the Asian Art Museum of San Francisco. As many as six performances will be presented in the fall of 2016 at the War Memorial Opera House.\u003c/p>\n\u003ch3>San Francisco Performances, Inc. (aka San Francisco Performances)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support a series of music and dance performances. The series will feature performances by pianist Leif Ove Andsnes (Norway), pianist Jonathan Biss, the Brentano String Quartet, Dorrance Dance, the Dover Quartet, pianist Marc-Andre Hamelin (Canada), cellist Harriet Krigjh (The Netherlands), tenor Mark Padmore, Paul Taylor Dance Company, and pianist Javier Perianes (Spain). Educational and outreach activities will include lectures, open rehearsals, and workshops.\u003c/p>\n\u003ch3>San Francisco Symphony (On behalf of San Francisco Symphony Youth Orchestra)\u003c/h3>\n\u003ch5>$35,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Artistic Development Program of the San Francisco Symphony Youth Orchestra. Designed to complement the youth orchestra’s core program of weekly rehearsals and concert performances, the free program will provide middle to high school students with coaching, mentorship, and specialized training in chamber music. Students will receive free tickets to San Francisco Symphony performances and participate in master classes with guest artists. In addition to rehearsals with San Francisco Symphony Youth Orchestra Music Director Donato Cabrera, participants will rehearse with San Francisco Symphony Music Director Michael Tilson Thomas.\u003c/p>\n\u003ch3>San Francisco Symphony\u003c/h3>\n\u003ch5>$75,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support a commissioning, performance, and composer residency project. Under the direction of Artistic Director Michael Tilson Thomas, the \u003cem>Mason Bates: Composer in 360\u003c/em> project will feature the world premiere performance of a new work by Bates titled “Auditorium” with guest conductor Pablo Heras-Casado (named Musical America’s 2014 Conductor of the Year). The composer will begin his two-week residency by curating musical evenings in SoundBox, the orchestra’s new performance space located backstage at Davies Symphony Hall. Activities will include community engagements, such as pre-concert lectures and conversations.\u003c/p>\n\u003ch3>Silent Film Festival (aka San Francisco Silent Film Festival)\u003c/h3>\n\u003ch5>$25,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 21st San Francisco Silent Film Festival. The four-day event showcases silent films with live musical accompaniment at the Castro Theatre in San Francisco. The 2016 festival will celebrate the centennial of a pivotal year in film history – 1916 – with screenings of films made in that year, such as D.W. Griffith’s \u003ci>Intolerance.\u003c/i>\u003c/p>\n\u003ch3>Southern Exposure\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support the commissioning of new work by emerging artists for gallery exhibitions and public art projects. This year-long project will include group exhibitions, public art projects, and additional events and performances highlighting the contemporary art practice of emerging Bay Area artists and art writers. A rotating curatorial committee will select the artists. Participating artists will receive conceptual, logistical, and administrative support to develop their work; a stipend and materials budget; and published essays.\u003c/p>\n\u003ch3>Stern Grove Festival Association (aka Stern Grove Festival)\u003c/h3>\n\u003ch5>$45,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the Stern Grove Festival. The festival will feature free outdoor performances by artists including the San Francisco Symphony and the San Francisco Ballet, as well as world music, pop, and jazz artists. Engagement activities will include hands-on workshops and camps for youth, as well as pre-show arts activities and discussions.\u003c/p>\n\u003ch3>The SF Playhouse (aka San Francisco Playhouse)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the Sandbox New Play Program. The program supports playwrights through the commissioning and development of new works. Development opportunities will include a monthly reading series, week-long workshops with professional artists, and the Sandbox Series of world premiere productions. Designed to serve as a bridge between readings and mainstage productions, the program will provide a low-risk environment and community of support in which playwrights can hone their craft. The project will include the world premiere of a new play by Theresa Rebeck as well as a second production of \u003cem>You Mean to Do Me Harm\u003c/em> by Christopher Chen.\u003c/p>\n\u003ch3>Theatre of Yugen, Incorporated (aka Theatre of Yugen at NOHspace)\u003c/h3>\n\u003ch5>$15,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater & Musical Theater\u003cbr>\nTo support the development and production of \u003cem>A Play on a Plate\u003c/em>, a theatrical event fusing theater with culinary arts. Developed in collaboration with Japanese chef Nobuaki Fushiki through the company’s Fermentation Lab, the performance will take the form of a theater/dinner pop-up event inspired by the many ways fermentation influences Japanese cuisine. The project will explore the potential of food to bring together diverse communities, including the local corporate community, prominent members of San Francisco’s foodie culture, students, and scientists in the growing biotech industry. The project development period will include educational outreach events and work-in-progress showings.\u003c/p>\n\u003ch3>Women’s Audio Mission (aka WAM)\u003c/h3>\n\u003ch5>$20,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the expansion of Girls on the Mic: Digital Media Training for Girls. The project is a media arts education program for girls from underserved communities in the Bay Area. Project activities are designed to cultivate the next generation of women media arts and technology experts. Participants will create their own websites, podcasts, music projects, and other media arts projects that mirror professional activities such as creative coding. Students will showcase their work online and share via mobile devices with friends and family.\u003c/p>\n\u003ch3>World Arts West (aka San Francisco Ethnic Dance Festival)\u003c/h3>\n\u003ch5>$50,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the presentation of the 38th annual San Francisco Ethnic Dance Festival. The festival provides underserved artists with the opportunity to perform in a professional setting. Artistic Directors Carlos Carvajal and CK Ladzekpo will attend dancers’ rehearsals and offer input and guidance, while also creating innovative transitions between dance pieces. After a rigorous audition process, more than 30 Northern California dance ensembles, whose work is rooted in various cultural traditions, will be selected to perform at the festival.\u003c/p>\n\u003ch3>Yerba Buena Arts & Events (aka Yerba Buena Gardens Festival (YBGF))\u003c/h3>\n\u003ch5>$30,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Presenting & Multidisciplinary Works\u003cbr>\nTo support the Yerba Buena Gardens Festival. The outdoor series will include world premiere presentations of new works and performances by artists in world music, dance, and Latin jazz, among others. The festival also will include partnerships with other local performing arts organizations.\u003c/p>\n\u003ch3>Zaccho SF (aka Zaccho Dance Theatre)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Dance\u003cbr>\nTo support the second biennial SF Aerial Dance Festival. The festival will bring together aerial dance artists, students, and audiences for a dynamic week of performances, workshops, and discussions. Emerging and established aerial dance choreographers will be featured, including Flyaway Productions, Project BANDALOOP, and Zaccho Dance Theatre. Performances will take place at the historic Fort Mason Center, with workshops happening at the Zaccho Studio in Bayview/Hunter’s Point.\u003c/p>\n\u003ch3>ZYZZYVA, Inc. (aka ZYZZYVA)\u003c/h3>\n\u003ch5>$10,000 (San Francisco, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Literature\u003cbr>\nTo support the publication and promotion of the journal “ZYZZYVA.” Showcasing the work of acclaimed and emerging West Coast writers, the journal publishes fiction, poetry, nonfiction, and artwork. The journal will be promoted at literary festivals and conferences; additional content, such as original writing and video interviews with contributors, will be made available online.\u003c/p>\n\u003ch3>Firebird Youth Chinese Orchestra\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support the Aimusic International Festival: Intangible Chinese Heritage Celebration. Performers from China and other Asian countries will showcase a variety of traditional Asian operas, as well as offer a seminar on Chinese opera. As many as 20 groups are expected to present performances that will include Kunqu Opera, Peking Opera, Yueju Opera, and Tibetan Opera. Additionally, the Firebird Youth Chinese Orchestra will rehearse special music for the festival and receive training in traditional Chinese customs and etiquette to receive the international artists properly.\u003c/p>\n\u003ch3>Mexican Heritage Corporation (aka VivaFest!)\u003c/h3>\n\u003ch5>$15,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support VivaFest!, the San Jose Mexican Heritage and Mariachi Festival. The project will celebrate the contributions of Mexican Americans and new Latino immigrants to the culture of the U.S. through performances, workshops, and art exhibits. Additionally, the program will offer master classes for mariachi and ballet folklorico.\u003c/p>\n\u003ch3>Movimiento de Arte y Cultura Latino Americana de San Jose, Inc. (aka MACLA)\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Theater\u003cbr>\nTo support the production of \u003ci>’57 Chevy,\u003c/i> a solo performance piece based on the script by Cris Franco, and associated outreach activities. Ricardo Salinas will perform the autobiographical story about a young man traversing the physical and cultural borders from Mexico City to the United States in the back seat of his father’s\u003cbr>\n1957 Chevrolet. The production will premiere at the Castellano Playhouse and will include performances for area high schools that serve a Latino majority.\u003c/p>\n\u003ch3>Opera Cultura\u003c/h3>\n\u003ch5>$15,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Opera\u003cbr>\nTo support commission, development, and workshop presentations of \u003cem>Bless Me, Ultima\u003c/em> a Mexican-American opera by composer/librettist Hector Armienta. The opera is based on Rudolfo Anaya’s novel of the same title (which is part of the NEA’s Big Read initiative). The story follows a young boy, Antonio, as he comes of age with\u003cbr>\nthe guidance of his curandera (shaman) and protector Ultima. Under her wing, he will probe the family ties that bind and rend him, and discover the magical secrets of the llano (grasslands) and the river. Community engagement activities will include youth writing workshops and a workshop presentation in summer 2017.\u003c/p>\n\u003ch3>San Jose Multicultural Artists Guild Inc. (aka SJMAG)\u003c/h3>\n\u003ch5>$10,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support dance performances featuring Lula Washington Dance Theatre, choreographed by Lula Washington, with associated outreach activities. The performances will explore African-American racial identity and experience, merging the choreographer’s reflections about important historical events, such as the Civil Rights Movement, while simultaneously exploring contemporary racial tension within the United States. Associated outreach, intended to benefit economically disadvantaged, primarily African-American students, will also include a student matinee performance, a free workshop, and free transportation for youth participants.\u003c/p>\n\u003ch3>San Jose Museum of Art Association (aka San Jose Museum of Art)\u003c/h3>\n\u003ch5>$45,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Museum\u003cbr>\nTo support an exhibition of new collaborative work by photographer Richard Misrach and composer Guillermo Galindo addressing issues related to the U.S./Mexico border. Titled \u003cem>Bordos Cantos\u003c/em>, the exhibition will juxtapose large-scale photographs by Misrach with musical instruments handcrafted by Galindo from ordinary objects collected along the border. The exhibition will be accompanied by communitywide public programming intended to serve the city’s large immigrant community.\u003c/p>\n\u003ch3>ZeroOne – The Art and Technology Network (aka ZERO1)\u003c/h3>\n\u003ch5>$20,000 (San Jose, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Visual Arts\u003cbr>\nTo support the creation of new work by Tahir Hemphill. Hemphill’s solo exhibition, \u003cem>Maximum Distance Minimum Displacement\u003c/em>, builds upon research undertaken at the STUDIO for Creative Inquiry at Carnegie Mellon University. The exhibition will feature new photography, video, and sculptural works, created using data drawn from a linguistic analysis of the work of several well-known rap musicians. The project will include training of teens at the artist’s Rap Research Lab, a studio for the production of creative technology projects and a space to teach art, design, cultural analysis, media criticism, data mining, and data visualization.\u003c/p>\n\u003ch3>Los Cenzontles Mexican Arts Center (aka Los Cenzontles Cultural Academy)\u003c/h3>\n\u003ch5>$35,000 (San Pablo, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support Routes of Resilience. A series of traditional and contemporary Mexican musical performances will be presented to the Mexican-American community. Live performances, web-based videos, and recordings will highlight the immigration experience, illuminating how personal and collective resilience have guided individuals and families through the challenging transitions particular to Mexican-American communities. Some performances will be supplemented with workshops, lecture-demonstrations, film screenings, and discussions.\u003c/p>\n\u003ch3>California Film Institute (aka CFI)\u003c/h3>\n\u003ch5>$30,000 (San Rafael, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Media Arts\u003cbr>\nTo support the 39th Mill Valley Film Festival. The festival will present narrative, documentary, and short American and international independent films. The program also will include panels, master classes, and free daytime screenings for students.\u003c/p>\n\u003ch3>Marin Shakespeare Company\u003c/h3>\n\u003ch5>$10,000 (San Rafael, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support theater workshops at San Quentin State Prison. The workshops for incarcerated veterans, including participants with disabilities, will include the creation and performance of an original theater piece addressing veterans’ issues. Performance artist Andrew Salvage will perform for the workshop participants and will lead sessions on autobiographical playwriting. \u003c/p>\n\u003ch3>Cabrillo Festival of Contemporary Music (aka Cabrillo Music Festival)\u003c/h3>\n\u003ch5>$25,000 (Santa Cruz, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support the Cabrillo Festival of Contemporary Music. Under the direction of Music Director Marin Alsop, the festival orchestra will perform music by living composers. Festival concerts will be held at the Santa Cruz Civic Auditorium. Other activities will include chamber music concerts, composers-in-residence, and a workshop for conductors and composers. Past composers-in-residence have included Mason Bates, Hannah Lash, and Missy Mazzoli, among many others. Featured programming will include the commissioning and world premiere of a new work by composer Anna Clyne and a collaboration with The Choral Project, a San Jose-based chorus, on its 20th anniversary. Educational and community activities will include open rehearsals, panel discussions, and a street fair.\u003c/p>\n\u003ch3>Kuumbwa Jazz Society (aka Kuumbwa Jazz)\u003c/h3>\n\u003ch5>$15,000 (Santa Cruz, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Music\u003cbr>\nTo support a concert series with NEA Jazz Master Charles Lloyd. Plans include several concerts in celebration of the 50th anniversary of Lloyd’s seminal \u003ci>Forest Flower: Live at Monterey\u003c/i> recording. Among the artists slated to perform alongside Lloyd, in differently sized ensembles and a duo-setting, are Jason Moran, Eric Harland, Reuben Rogers, Gerald Clayton, as well as 1999 NEA National Heritage Fellow Zakir Hussein. Members of the Kuumbwa Honor Jazz Band, composed of local high school student musicians, may be invited to observe preperformance sound checks and engage with the artists.\u003c/p>\n\u003ch3>Santa Rosa Symphony Association (aka Santa Rosa Symphony)\u003c/h3>\n\u003ch5>$10,000 (Santa Rosa, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Challenge America\u003cbr>\nTo support a performance, a workshop, and related outreach activities featuring Venezuelan pianist Gabriela Martinez. The project is intended to serve economically disadvantaged, primarily Latino residents, and Martinez will conduct a free workshop for elementary and middle school violinists, participate in free rehearsals for the\u003cbr>\ncommunity, and offer a bilingual pre-concert talk. Organizations such Big Brothers Big Sisters of the North Bay, the YWCA Sonoma County, California Parenting Institute, the Boys and Girls Club Central Santa Rosa, and Hanna Boys Center – selected for their ties to local, underserved communities – will assist with targeted outreach and free ticket distribution for the main stage performance at the Green Music Center.\u003c/p>\n\u003ch3>Montalvo Association (aka Montalvo Arts Center)\u003c/h3>\n\u003ch5>$15,000 (Saratoga, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities\u003cbr>\nTo support residencies and related activities. Selected emerging and mid-career American artists from diverse disciplines will be offered fully funded residencies. Artists will present their work on-site and in the community through exhibitions and performances, as well as through educational and outreach activities.\u003c/p>\n\u003ch3>Headlands Center for the Arts (aka Headlands)\u003c/h3>\n\u003ch5>$35,000 (Sausalito, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Artist Communities/Imagine Your Parks\u003cbr>\nTo support artist residencies, an alumni new works program, and an artist commissioning program. Residencies will focus on emerging and mid-career artists. The alumni new works and commissioning programs will offer support for special projects created by past participating artists and local artists. The commissioning program’s goals include supporting and investing in artists whose work will impact the cultural landscape; providing artists with the support to produce a project which might not otherwise happen; and encouraging artists to make work inspired by the Marin Headlands, part of the National Park Service.\u003c/p>\n\u003ch3>Voice of Roma (aka VOR)\u003c/h3>\n\u003ch5>$35,000 (Sebastopol, CA)\u003c/h5>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Folk & Traditional Arts\u003cbr>\nTo support \u003cem>Opre Khetanes! (Rise Up Together!): Romani Culture in Diaspora\u003c/em>. The cultural contributions of the Roma Gypsies will be explored through a symposium and multi-city tour of Romani artists, including 2011 NEA National Heritage Fellow Yuri Yunakov. The tour will begin at New York University and conclude at the Voice of Roma’s annual Herdeljezi Festival in San Francisco.\u003c/p>\n\u003ch3>Stanford Jazz Workshop (aka SJW)\u003c/h3>\n\u003ch5>$20,000 (Stanford, CA)\u003c/h5>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>FIELD/DISCIPLINE:\u003c/strong> Arts Education\u003cbr>\nTo support the Middle School Jazz Initiative, including Giant Steps Day Camp, Giant Steps Jazz Singers, and Giant Steps Big Band ensemble. This jazz education program enables middle school students to interact with master jazz educators and artists through year-round, weekly after-school instrumental music instruction. The middle\u003cbr>\nschool programs all share the program name “Giant Steps,” to not only indicate the progress the students make as a result of participating, but also refers to the jazz composition, “Giant Steps” by the late John Coltrane. Giant Steps program directors and faculty are selected for their extensive experience and recognized success teaching jazz at the middle school level. Taught at local host school sites and during SJW’s jazz immersion camps in the summer on the Stanford University campus, students follow a personalized curriculum that includes improvisation, jazz styles, ear training, technique, and playing in small and large ensembles. The program culminates in a final public performance at the end of each academic semester and at the end of each week of jazz immersion camp.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11146612/nea-awards-27m-in-grants-for-2016-over-2m-for-bay-area-orgs",
"authors": [
"93"
],
"categories": [
"arts_1",
"arts_966",
"arts_69",
"arts_235",
"arts_967"
],
"tags": [
"arts_596"
],
"featImg": "arts_10306412",
"label": "arts"
},
"arts_11146363": {
"type": "posts",
"id": "arts_11146363",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11146363",
"score": null,
"sort": [
1449614962000
]
},
"guestAuthors": [],
"slug": "elbo-rooms-lease-extended-to-2018",
"title": "Elbo Room's Lease Extended to 2018",
"publishDate": 1449614962,
"format": "standard",
"headTitle": "Elbo Room’s Lease Extended to 2018 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Owners of the Elbo Room, the darkly-lit bar and music venue in San Francisco’s Mission District, learned Tuesday morning that their lease will be extended to Jan. 1, 2018, putting off its impending closure for two more years.\u003c/p>\n\u003cp>[contextly_sidebar id=”9jTf7M3FVvG07dI1Qmev4qGr1embprbB”]\u003c/p>\n\u003cp>Since 2014, the Elbo Room’s landlords, Dennis Ring and Susan Rokisky-Ring, have been moving forward with a project to tear down the 80-year-old building and \u003ca href=\"http://ww2.kqed.org/news/2014/11/13/san-franciscos-elbo-room-might-be-demolished-for-condos\" target=\"_blank\" rel=\"noopener\">replace it with condos\u003c/a>. But the project has not only met resistance from the \u003ca href=\"http://ww2.kqed.org/arts/2014/11/21/the-elbo-room-is-far-from-dying-but-theres-still-a-movement-to-save-it/\" target=\"_blank\" rel=\"noopener\">bar’s dedicated patrons\u003c/a>, it’s also run into delay after delay from the city.\u003c/p>\n\u003cp>“They might as well keep us there and keep everyone happy,” said Matt Shapiro, who owns and operates the Elbo Room with partner Erik Cantu.\u003c/p>\n\u003cp>This year has been quite the roller coaster of emotions for Shaprio and Cantu, who were \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">told back in April\u003c/a> that their lease would expire in November. But \u003ca href=\"http://ww2.kqed.org/arts/2015/08/19/the-elbo-room-will-live-to-see-2016/\" target=\"_blank\" rel=\"noopener\">just a few months later,\u003c/a> they learned that the condo project was running into delays; the Rings informed the pair that they could stay open through 2016.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though Shapiro says the building owners have yet to put anything in writing, they have been talking about the extension since Friday and received a “final” verbal agreement from their landlords Tuesday morning.\u003c/p>\n\u003cp>Shapiro says there are no plans for an official celebration of the lease extension, but the status he wrote for the club’s Facebook page says it all:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.facebook.com/elbo.room.9/posts/1533585760301706\u003c/p>\n\n",
"blocks": [],
"excerpt": "Owners of the Elbo Room learned Tuesday morning that their lease will be extended to Jan. 1, 2018, putting off its impending closure for two more years.",
"status": "publish",
"parent": 0,
"modified": 1726763857,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 268
},
"headData": {
"title": "Elbo Room's Lease Extended to 2018 | KQED",
"description": "Owners of the Elbo Room learned Tuesday morning that their lease will be extended to Jan. 1, 2018, putting off its impending closure for two more years.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Elbo Room's Lease Extended to 2018",
"datePublished": "2015-12-08T14:49:22-08:00",
"dateModified": "2024-09-19T09:37:37-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "464731684",
"path": "/arts/11146363/elbo-rooms-lease-extended-to-2018",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Owners of the Elbo Room, the darkly-lit bar and music venue in San Francisco’s Mission District, learned Tuesday morning that their lease will be extended to Jan. 1, 2018, putting off its impending closure for two more years.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Since 2014, the Elbo Room’s landlords, Dennis Ring and Susan Rokisky-Ring, have been moving forward with a project to tear down the 80-year-old building and \u003ca href=\"http://ww2.kqed.org/news/2014/11/13/san-franciscos-elbo-room-might-be-demolished-for-condos\" target=\"_blank\" rel=\"noopener\">replace it with condos\u003c/a>. But the project has not only met resistance from the \u003ca href=\"http://ww2.kqed.org/arts/2014/11/21/the-elbo-room-is-far-from-dying-but-theres-still-a-movement-to-save-it/\" target=\"_blank\" rel=\"noopener\">bar’s dedicated patrons\u003c/a>, it’s also run into delay after delay from the city.\u003c/p>\n\u003cp>“They might as well keep us there and keep everyone happy,” said Matt Shapiro, who owns and operates the Elbo Room with partner Erik Cantu.\u003c/p>\n\u003cp>This year has been quite the roller coaster of emotions for Shaprio and Cantu, who were \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">told back in April\u003c/a> that their lease would expire in November. But \u003ca href=\"http://ww2.kqed.org/arts/2015/08/19/the-elbo-room-will-live-to-see-2016/\" target=\"_blank\" rel=\"noopener\">just a few months later,\u003c/a> they learned that the condo project was running into delays; the Rings informed the pair that they could stay open through 2016.\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>Though Shapiro says the building owners have yet to put anything in writing, they have been talking about the extension since Friday and received a “final” verbal agreement from their landlords Tuesday morning.\u003c/p>\n\u003cp>Shapiro says there are no plans for an official celebration of the lease extension, but the status he wrote for the club’s Facebook page says it all:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.facebook.com/elbo.room.9/posts/1533585760301706\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11146363/elbo-rooms-lease-extended-to-2018",
"authors": [
"93"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_746",
"arts_596"
],
"featImg": "arts_10150155",
"label": "arts"
},
"arts_11141034": {
"type": "posts",
"id": "arts_11141034",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11141034",
"score": null,
"sort": [
1449543649000
]
},
"guestAuthors": [],
"slug": "show-me-yours-drag-queens-on-ice-christmas-revels-and-more",
"title": "Show Me Yours: Drag Queens on Ice, Christmas Revels and More",
"publishDate": 1449543649,
"format": "standard",
"headTitle": "Show Me Yours: Drag Queens on Ice, Christmas Revels and More | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Hooray for amateurs — the masses of people who exercise their creative muscles for the sheer heck of it and not for money or fame. If more of us spent our spare time learning to dance like Beyonce, writing novels in only a month, and taking improv classes, there’d probably be fewer wars. \u003c/span>\u003c/p>\n\u003cp>Needless to say, the Bay Area is fairly bonkers with opportunities for artistic endeavor for residents and visitors of all ages, ethnicities and cultural interests. And d\u003cspan style=\"font-weight: 400\">uring the holiday season, participation in everything from karaoke at the company Christmas party to the local orchestra’s \u003cem>Singalong \u003c/em>\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Messiah\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, goes way up. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So I wanted to include in this week’s survey of performing arts events a couple of proudly amateur happenings alongside stuff that’s more pro. It’s the first of what I hope will be many nods to the everyday folks who get their kicks from all manner of artistic pastimes, as well as a couple of the institutions that help to make all this creativity possible for cultural hobbyists around the Bay.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141039\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/david-haneke-usher.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11141039 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-800x466.jpg\" alt=\"A scene from 'The Fall of the House of Usher' at San Francisco Opera\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-400x233.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978.jpg 863w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Fall of the House of Usher’ at San Francisco Opera \u003ccite>(Photo: David Haneke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tuesday, Dec. 8 – Sunday, Dec. 13: San Francisco Opera presents \u003c/b>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/the-fall-of-the-house-of-usher/\">\u003cb>\u003ci>The Fall of the House of Usher\u003c/i>\u003c/b>\u003c/a>\u003cb> at the War Memorial Opera House, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">That Edgar Allan Poe’s spectral story about a mentally unstable brother, his physically unstable twin sister, and the craggy-decrepit fortress in which they live has captured the minds of opera creators for well over a century is no surprise: This supreme work of Gothic schlockery (on par with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Raven\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">) is full of the stuff — an unlikely plot, characters on the brink of death and madness, lightning — that makes opera fans drool. French Impressionist Claude Debussy, American Minimalist Philip Glass and British prog rock songwriter Peter Hammill are among those who have excavated Poe’s story for the opera stage. The San Francisco Opera’s double-bill of short, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Usher\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">-inspired works combines Debussy’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">La Chute de la Maison Usher\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and American composer Gordon Getty’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Usher House\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to create an evening of stormy music and imposing visuals. Both works star Brian Mulligan, who chilled Bay Area audiences’ bones in the role of Sweeney Todd at San Francisco Opera earlier this season and may do the same now as the emotionally volatile Roderick Usher. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141045\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11141045\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-800x524.jpg\" alt=\"'Drag Queens on Ice'\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-1180x773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-1920x1257.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Drag Queens on Ice’ \u003ccite>(Photo: Jerry Yim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Thursday, Dec. 10: \u003c/b>\u003ca href=\"http://sf.funcheap.com/drag-queens-ice-union-square/\">\u003cb>\u003ci>Drag Queens on Ice\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Union Square holiday ice rink, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">Forget the imposing Christmas tree and the streams of sweating shoppers barging their way into Macy’s. You only truly know the holidays have arrived when a bunch of San Francisco’s most celebrated drag queens exchange their heels for ice skates and take to the rink in Union Square. Although the event feels a little like a publicity stunt for big business — Safeway, Bank of the West and Alaska Airlines all have their names slapped on this icecapade — performances in the great art of lip-synching by the likes of Mutha Chuka, Paju Munro, and BeBe Sweetbriar while careening across the ice will doubtless bring some much-needed lipstick, lamế and levity to the downtown holiday shopping scramble.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Thursday, Dec. 10: \u003c/b>\u003ca href=\"http://www.eventbrite.com/e/james-bond-007-dance-party-theme-thursdays-opal-mtn-vw-tickets-19774119925\">\u003cb>\u003ci>James Bond 007 Dance Party\u003c/i>\u003c/b>\u003c/a>\u003cb> at Opal, Mountain View. \u003c/b>\u003cspan style=\"font-weight: 400\">Sometimes the best arts events are the ones you get to participate in yourself. And while it’s become commonplace for karaoke aficionados across the land to give their all to renditions of everything from Shirley Bassey’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Diamonds are Forever\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to Adele’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Skyfall\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, hitting the dance floor to express one’s love for all things 007 hasn’t quite yet become quite as run-of-the-mill. Opal, a well-appointed nightspot in Mountain View, is offering Bond fans the chance to sashay to the music that’s helped to make the long-running franchise one of the most revered in pop culture history. Whether you’re attired in Bond Girl chic, a bespoke tuxedo or your regular street clothes, this dance party is a great way to decompress after seeing the latest Bond flick, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Spectre\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, showing just the down the road at the local Century 16. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Friday, Dec. 11 – Sunday, Dec. 20: California Revels presents \u003c/b>\u003ca href=\"http://californiarevels.org/2015_christmas-revels\">\u003cb>\u003ci>Christmas Revels: A Venetian Masque\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Scottish Rite Theater, Oakland. \u003c/b>\u003cspan style=\"font-weight: 400\">For the past 30 years, the California Revels has injected a fat dose of folk culture into the local holiday season — and has become as beloved a fixture as a favorite tree ornament in the process. This year’s event, which brings together pros like Jeff Raz and Robert Sicular with amateur performers from all over the community, takes its cue from the \u003c/span>\u003cspan style=\"font-weight: 400\">Commedia dell’Arte performance traditions of the early 17th century. The schtick revolves around a bunch of ragtag comedians as they attempt to sabotage a classy masque thrown by the Doge of Venice. Expect a riotous combustion of high and low art, voluminous costumes and plenty of audience participation.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11141040 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-800x528.jpg\" alt=\"FaultLine Theatre: The team behind 'Dead Dogs Bone.'\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-1920x1266.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-960x633.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">FaultLine Theatre: The team behind ‘Dead Dogs Bone.’ \u003ccite>(Photo: Clive Walker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Friday, Dec. 11 – Saturday, Dec. 19: FaultLine Theatre presents \u003c/b>\u003ca href=\"http://www.faultlinetheater.com/#!dead-dogs-bone/c1mro\">\u003cb>\u003ci>Dead Dog’s Bone\u003c/i>\u003c/b>\u003c/a>\u003cb> at PianoFight, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">Cole Ferraiuolo, artistic director of FaultLine Theater, described his company’s latest production in an email to me as an “anti-Christmas, Christmas play.” It’s an astute description for the up-and-coming local dramatist Veronica Tjioe’s bleak comedy, which explores how a commitment-phobic twenty-something copes with the impending death of the family dog and her abhorrence of plastic Christmas trees. FaultLine was nominated for 15 Theater Bay Area Awards this year, and Dead Dog’s Bone is the final show of the hardworking young company’s season. \u003c/span>\u003c/p>\n\u003cp>And I can’t let you go without sharing a few more suggestions:\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 13: 42nd Street Moon presents \u003c/b>\u003ca href=\"http://www.42ndstmoon.org/scrooge-in-love\">\u003cb>\u003ci>Scrooge in Love\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Eureka Theatre, San Francisco.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 20: TheatreFIRST presents \u003c/b>\u003ca href=\"http://www.theatrefirst.com/the-seafarer/\">\u003cb>\u003ci>The Seafarer\u003c/i>\u003c/b> \u003c/a>\u003cb>at the Live Oak Theatre, Berkeley.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 13: \u003c/b>\u003ca href=\"http://www.emspacedance.org/emspace-detour/\">\u003cb>EmSpace Dance and Detour Dance\u003c/b>\u003c/a>\u003cb> at NOHspace, San Francisco.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"blocks": [],
"excerpt": "This week our critic's performing arts picks also include a James Bond dance party and a Gothic double bill at the SF Opera.",
"status": "publish",
"parent": 0,
"modified": 1726771127,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 1075
},
"headData": {
"title": "Show Me Yours: Drag Queens on Ice, Christmas Revels and More | KQED",
"description": "This week our critic's performing arts picks also include a James Bond dance party and a Gothic double bill at the SF Opera.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Show Me Yours: Drag Queens on Ice, Christmas Revels and More",
"datePublished": "2015-12-07T19:00:49-08:00",
"dateModified": "2024-09-19T11:38:47-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11141034/show-me-yours-drag-queens-on-ice-christmas-revels-and-more",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Hooray for amateurs — the masses of people who exercise their creative muscles for the sheer heck of it and not for money or fame. If more of us spent our spare time learning to dance like Beyonce, writing novels in only a month, and taking improv classes, there’d probably be fewer wars. \u003c/span>\u003c/p>\n\u003cp>Needless to say, the Bay Area is fairly bonkers with opportunities for artistic endeavor for residents and visitors of all ages, ethnicities and cultural interests. And d\u003cspan style=\"font-weight: 400\">uring the holiday season, participation in everything from karaoke at the company Christmas party to the local orchestra’s \u003cem>Singalong \u003c/em>\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Messiah\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, goes way up. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So I wanted to include in this week’s survey of performing arts events a couple of proudly amateur happenings alongside stuff that’s more pro. It’s the first of what I hope will be many nods to the everyday folks who get their kicks from all manner of artistic pastimes, as well as a couple of the institutions that help to make all this creativity possible for cultural hobbyists around the Bay.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141039\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/david-haneke-usher.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11141039 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-800x466.jpg\" alt=\"A scene from 'The Fall of the House of Usher' at San Francisco Opera\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978-400x233.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/david-haneke-usher-e1449449330978.jpg 863w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Fall of the House of Usher’ at San Francisco Opera \u003ccite>(Photo: David Haneke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tuesday, Dec. 8 – Sunday, Dec. 13: San Francisco Opera presents \u003c/b>\u003ca href=\"http://sfopera.com/discover-opera/1516-season/the-fall-of-the-house-of-usher/\">\u003cb>\u003ci>The Fall of the House of Usher\u003c/i>\u003c/b>\u003c/a>\u003cb> at the War Memorial Opera House, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">That Edgar Allan Poe’s spectral story about a mentally unstable brother, his physically unstable twin sister, and the craggy-decrepit fortress in which they live has captured the minds of opera creators for well over a century is no surprise: This supreme work of Gothic schlockery (on par with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Raven\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">) is full of the stuff — an unlikely plot, characters on the brink of death and madness, lightning — that makes opera fans drool. French Impressionist Claude Debussy, American Minimalist Philip Glass and British prog rock songwriter Peter Hammill are among those who have excavated Poe’s story for the opera stage. The San Francisco Opera’s double-bill of short, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Usher\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">-inspired works combines Debussy’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">La Chute de la Maison Usher\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and American composer Gordon Getty’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Usher House\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to create an evening of stormy music and imposing visuals. Both works star Brian Mulligan, who chilled Bay Area audiences’ bones in the role of Sweeney Todd at San Francisco Opera earlier this season and may do the same now as the emotionally volatile Roderick Usher. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141045\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11141045\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-800x524.jpg\" alt=\"'Drag Queens on Ice'\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-1180x773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-1920x1257.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DQOI-15-e1449450048803-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Drag Queens on Ice’ \u003ccite>(Photo: Jerry Yim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Thursday, Dec. 10: \u003c/b>\u003ca href=\"http://sf.funcheap.com/drag-queens-ice-union-square/\">\u003cb>\u003ci>Drag Queens on Ice\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Union Square holiday ice rink, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">Forget the imposing Christmas tree and the streams of sweating shoppers barging their way into Macy’s. You only truly know the holidays have arrived when a bunch of San Francisco’s most celebrated drag queens exchange their heels for ice skates and take to the rink in Union Square. Although the event feels a little like a publicity stunt for big business — Safeway, Bank of the West and Alaska Airlines all have their names slapped on this icecapade — performances in the great art of lip-synching by the likes of Mutha Chuka, Paju Munro, and BeBe Sweetbriar while careening across the ice will doubtless bring some much-needed lipstick, lamế and levity to the downtown holiday shopping scramble.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Thursday, Dec. 10: \u003c/b>\u003ca href=\"http://www.eventbrite.com/e/james-bond-007-dance-party-theme-thursdays-opal-mtn-vw-tickets-19774119925\">\u003cb>\u003ci>James Bond 007 Dance Party\u003c/i>\u003c/b>\u003c/a>\u003cb> at Opal, Mountain View. \u003c/b>\u003cspan style=\"font-weight: 400\">Sometimes the best arts events are the ones you get to participate in yourself. And while it’s become commonplace for karaoke aficionados across the land to give their all to renditions of everything from Shirley Bassey’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Diamonds are Forever\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> to Adele’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Skyfall\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, hitting the dance floor to express one’s love for all things 007 hasn’t quite yet become quite as run-of-the-mill. Opal, a well-appointed nightspot in Mountain View, is offering Bond fans the chance to sashay to the music that’s helped to make the long-running franchise one of the most revered in pop culture history. Whether you’re attired in Bond Girl chic, a bespoke tuxedo or your regular street clothes, this dance party is a great way to decompress after seeing the latest Bond flick, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Spectre\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, showing just the down the road at the local Century 16. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Friday, Dec. 11 – Sunday, Dec. 20: California Revels presents \u003c/b>\u003ca href=\"http://californiarevels.org/2015_christmas-revels\">\u003cb>\u003ci>Christmas Revels: A Venetian Masque\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Scottish Rite Theater, Oakland. \u003c/b>\u003cspan style=\"font-weight: 400\">For the past 30 years, the California Revels has injected a fat dose of folk culture into the local holiday season — and has become as beloved a fixture as a favorite tree ornament in the process. This year’s event, which brings together pros like Jeff Raz and Robert Sicular with amateur performers from all over the community, takes its cue from the \u003c/span>\u003cspan style=\"font-weight: 400\">Commedia dell’Arte performance traditions of the early 17th century. The schtick revolves around a bunch of ragtag comedians as they attempt to sabotage a classy masque thrown by the Doge of Venice. Expect a riotous combustion of high and low art, voluminous costumes and plenty of audience participation.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11141040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11141040 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-800x528.jpg\" alt=\"FaultLine Theatre: The team behind 'Dead Dogs Bone.'\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-1920x1266.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DDD-Staff-Cast-Comp-cedit-clive-walker-e1449449469200-960x633.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">FaultLine Theatre: The team behind ‘Dead Dogs Bone.’ \u003ccite>(Photo: Clive Walker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Friday, Dec. 11 – Saturday, Dec. 19: FaultLine Theatre presents \u003c/b>\u003ca href=\"http://www.faultlinetheater.com/#!dead-dogs-bone/c1mro\">\u003cb>\u003ci>Dead Dog’s Bone\u003c/i>\u003c/b>\u003c/a>\u003cb> at PianoFight, San Francisco. \u003c/b>\u003cspan style=\"font-weight: 400\">Cole Ferraiuolo, artistic director of FaultLine Theater, described his company’s latest production in an email to me as an “anti-Christmas, Christmas play.” It’s an astute description for the up-and-coming local dramatist Veronica Tjioe’s bleak comedy, which explores how a commitment-phobic twenty-something copes with the impending death of the family dog and her abhorrence of plastic Christmas trees. FaultLine was nominated for 15 Theater Bay Area Awards this year, and Dead Dog’s Bone is the final show of the hardworking young company’s season. \u003c/span>\u003c/p>\n\u003cp>And I can’t let you go without sharing a few more suggestions:\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 13: 42nd Street Moon presents \u003c/b>\u003ca href=\"http://www.42ndstmoon.org/scrooge-in-love\">\u003cb>\u003ci>Scrooge in Love\u003c/i>\u003c/b>\u003c/a>\u003cb> at the Eureka Theatre, San Francisco.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 20: TheatreFIRST presents \u003c/b>\u003ca href=\"http://www.theatrefirst.com/the-seafarer/\">\u003cb>\u003ci>The Seafarer\u003c/i>\u003c/b> \u003c/a>\u003cb>at the Live Oak Theatre, Berkeley.\u003c/b>\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Dec. 13: \u003c/b>\u003ca href=\"http://www.emspacedance.org/emspace-detour/\">\u003cb>EmSpace Dance and Detour Dance\u003c/b>\u003c/a>\u003cb> at NOHspace, San Francisco.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11141034/show-me-yours-drag-queens-on-ice-christmas-revels-and-more",
"authors": [
"8608"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_968",
"arts_966",
"arts_69",
"arts_235",
"arts_967"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_11141035",
"label": "arts_140"
},
"arts_11143285": {
"type": "posts",
"id": "arts_11143285",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11143285",
"score": null,
"sort": [
1449529243000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1449529243,
"format": "standard",
"title": "Bay Area Represented in 2016 Grammy Nominations",
"headTitle": "Bay Area Represented in 2016 Grammy Nominations | KQED",
"content": "\u003cp>The 58th Annual Grammy Award nominations, \u003ca href=\"https://www.grammy.com/nominees\" target=\"_blank\" rel=\"noopener\">just announced\u003c/a>, find Kendrick Lamar, Taylor Swift and the Weeknd battling it out for top honors — Lamar holds 11 nominations, while Swift and the Weeknd each have seven.\u003c/p>\n\u003cp>Here in the Bay Area, there’s plenty of celebrating as well. In anticipation of the big night when winners are announced (Feb. 15 on CBS), here’s eight of today’s Grammy nominees from the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_11143642\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/kehlani-you-should-be-here.jpg\" alt=\"Kehlani, 'You Should Be Here."\" width=\"325\" height=\"325\" class=\"size-full wp-image-11143642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/kehlani-you-should-be-here.jpg 325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/kehlani-you-should-be-here-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/kehlani-you-should-be-here-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/kehlani-you-should-be-here-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/kehlani-you-should-be-here-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/kehlani-you-should-be-here-75x75.jpg 75w\" sizes=\"(max-width: 325px) 100vw, 325px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani, ‘You Should Be Here.”\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Kehlani – ‘You Should Be Here’\u003c/strong>\u003cbr>\n\u003cem>Best Urban Contemporary Album\u003c/em>\u003cbr>\nKehlani grew up in Oakland, reps the Town pretty hard and only recently relocated to L.A. to record her major-label debut. \u003cem>You Should Be Here\u003c/em> was originally released as a mixtape for free download, and Kehlani has been selling out shows both \u003ca href=\"http://ww2.kqed.org/arts/2015/07/28/live-review-kehlani-crests-the-tsunami-of-stardom-at-slims/\" target=\"_blank\" rel=\"noopener\">on her own\u003c/a> and with \u003ca href=\"http://ww2.kqed.org/arts/2015/03/24/a-day-in-the-life-with-breakout-bay-area-rappers-hbk-gang/\" target=\"_blank\" rel=\"noopener\">Richmond’s HBK Gang\u003c/a> ever since. (Read our review from a July show in San Francisco \u003ca href=\"http://ww2.kqed.org/arts/2015/07/28/live-review-kehlani-crests-the-tsunami-of-stardom-at-slims/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.) “I jus got to London it’s 1:47 pm and I’m on the ground shaking and crying… I don’t even know what to do with myself. Grammy nominated before 21,” she \u003ca href=\"https://www.instagram.com/p/-_ilxQPD_E/\" target=\"_blank\" rel=\"noopener\">posted on Instagram\u003c/a> today, adding later: “I’m doing it all for my city, my family and every little girl out there who is told she can’t succeed.”\u003c/p>\n\u003cfigure id=\"attachment_11143644\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kendrick.jpg\" alt='Colin Tilley and Kendrick Lamar on set for \"Alright.\"' width=\"325\" height=\"325\" class=\"size-full wp-image-11143644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick.jpg 325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-75x75.jpg 75w\" sizes=\"(max-width: 325px) 100vw, 325px\">\u003cfigcaption class=\"wp-caption-text\">Colin Tilley and Kendrick Lamar on set for “Alright.” \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Colin Tilley (Kendrick Lamar – “Alright”)\u003c/strong>\u003cbr>\n\u003cem>Best Music Video\u003c/em>\u003cbr>\n“Alright” is pretty much \u003cem>the\u003c/em> anthem for 2015, and its video, directed by Berkeley native Colin Tilley and partially shot on Treasure Island, is definitely one of the year’s best. With scenes of the San Francisco skyline and wide-angle pans of local \u003ca href=\"http://www.onecypher.com/2015/07/02/bay-area-dancers-featured-on-kendrick-lamar-music-video/\" target=\"_blank\" rel=\"noopener\">turf dancers\u003c/a> and extras, “Alright” had the hip-hop world abuzz the week of its release over its surreal vignettes and unpredictable twists. “It’s an incredible feeling to put everything you got into a project and see it pay off with more opportunities to keep growing as an artist. I’ve directed over 200 music videos in the last 7 years. But this one was just special,” Tilley \u003ca href=\"https://www.instagram.com/p/-_oEheOzUN/\" target=\"_blank\" rel=\"noopener\">said today on Instagram\u003c/a>. “The Grammys though! Real Berkeley.”\u003c/p>\n\u003cfigure id=\"attachment_11143639\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/the-bad-plus-joshua-redman.jpg\" alt=\"'The Bad Plus Joshua Redman.'\" width=\"325\" height=\"288\" class=\"size-full wp-image-11143639\">\u003cfigcaption class=\"wp-caption-text\">‘The Bad Plus Joshua Redman.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Joshua Redman – “Friend or Foe”\u003c/strong>\u003cbr>\n\u003cem>Best Improvised Jazz Solo \u003c/em>\u003cbr>\nBerkeley High graduate Redman is no stranger to the Grammy nominations, but this year’s nod shows just how far he’s come. Previously nominated in 1993 and 2005 for his albums \u003cem>Joshua Redman\u003c/em> and \u003cem>Momentum\u003c/em>, respectively, Redman this year is honored for his solo on “\u003ca href=\"https://www.youtube.com/watch?v=g9tf8gS-TdA\" target=\"_blank\" rel=\"noopener\">Friend or Foe\u003c/a>,” a highlight of his excellent album with the Bad Plus. (Hear it \u003ca href=\"https://youtu.be/g9tf8gS-TdA?t=3m15s\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.) Redman’s a humble guy, but when he and the Bad Plus settle in for a \u003ca href=\"http://www.sfjazz.org/events/2015-16/1213/bad-plus-redman\" target=\"_blank\" rel=\"noopener\">four-day residency at SFJAZZ\u003c/a> this week, expect the Bad Plus to congratulate him on the Grammy nomination with their trademark wry humor. \u003c/p>\n\u003cfigure id=\"attachment_11143641\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/LosTigres.jpg\" alt=\"Los Tigres del Norte, 'Realidades.'\" width=\"325\" height=\"325\" class=\"size-full wp-image-11143641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LosTigres.jpg 325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LosTigres-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LosTigres-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LosTigres-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LosTigres-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LosTigres-75x75.jpg 75w\" sizes=\"(max-width: 325px) 100vw, 325px\">\u003cfigcaption class=\"wp-caption-text\">Los Tigres del Norte, ‘Realidades.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Los Tigres del Norte – ‘Realidades’\u003c/strong>\u003cbr>\n\u003cem>Best Regional Mexican Music Album\u003c/em>\u003cbr>\nSince immigrating to the U.S. in the late 1960s, San Jose quintet Los Tigres del Norte have been the world’s best-known purveyors of \u003cem>narcocorridos\u003c/em> — the storytelling songs of the drug trade that \u003ca href=\"http://www.npr.org/sections/altlatino/2015/07/16/423198482/narco-ballads-praising-el-chapo-or-portraying-the-corrupt-truth\" target=\"_blank\" rel=\"noopener\">made headlines earlier this year\u003c/a> when Mexican drug kingpin El Chapo escaped from prison, eliciting many tributes in song — as well as songs of love, death, and the immigrant experience. It’s no surprise to see Los Tigres on the Grammy list; they usually fill large arenas, often performing for as long as four hours per show. \u003c/p>\n\u003cfigure id=\"attachment_11143640\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/TurtleIsland.jpg\" alt=\"Turtle Island Quartet, 'Confetti Man.'\" width=\"325\" height=\"292\" class=\"size-full wp-image-11143640\">\u003cfigcaption class=\"wp-caption-text\">Turtle Island Quartet, ‘Confetti Man.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>David Balakrishnan – “Confetti Man” (Turtle Island Quartet)\u003c/strong>\u003cbr>\n\u003cem>Best Instrumental Composition\u003c/em>\u003cbr>\nThe Turtle Island Quartet are a 30-year Bay Area institution with two Grammy wins beneath their collective belt (for \u003cem>A Love Supreme: The Legacy Of John Coltrane\u003c/em> and \u003cem>4+Four\u003c/em>), and founder David Balakrishnan has been nominated twice for best instrumental arrangement. Here, he’s honored for the two-part composition “Confetti Man,” from the album of the same name and inspired by a painting by his wife. \u003ca href=\"https://www.youtube.com/watch?v=JvZx27Y1yNI&list=PLSwNd4MGIzvj52Pqu0k--cOcWAYEu5v42\" target=\"_blank\" rel=\"noopener\">Hear it here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11143643\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/AskYourMama.jpg\" alt=\"'Ask Your Mama.'\" width=\"325\" height=\"325\" class=\"size-full wp-image-11143643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AskYourMama.jpg 325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AskYourMama-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AskYourMama-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AskYourMama-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AskYourMama-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AskYourMama-75x75.jpg 75w\" sizes=\"(max-width: 325px) 100vw, 325px\">\u003cfigcaption class=\"wp-caption-text\">‘Ask Your Mama.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>George Manahan & San Francisco Ballet Orchestra – ‘Ask Your Mama’\u003c/strong>\u003cbr>\n\u003cem>Best Engineered Album (Classical)\u003c/em>\u003cbr>\nThe poem cycle \u003cem>Ask Your Mama: 12 Moods for Jazz\u003c/em> by American great Langston Hughes features the San Francisco Ballet Orchestra under the direction of George Manahan, and was recorded at Skywalker Sound in Marin County. Hughes’ original text, about the African-American tradition of invoking one’s mama as an insult, featured Hughes’ notes in the margins about his ideas for musical accompaniment; composer Laura Karpman followed those notes for this release. The recording features soprano Janai Brugger, jazz vocalist Nnenna Freelon, and Questlove and Black Thought from the Roots. \u003c/p>\n\u003cfigure id=\"attachment_11143645\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Cam.jpg\" alt='Cam, \"Burning House.\"' width=\"325\" height=\"325\" class=\"size-full wp-image-11143645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cam.jpg 325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cam-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cam-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cam-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cam-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cam-75x75.jpg 75w\" sizes=\"(max-width: 325px) 100vw, 325px\">\u003cfigcaption class=\"wp-caption-text\">Cam, “Burning House.”\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Cam – “Burning House”\u003c/strong>\u003cbr>\n\u003cem>Best Country Solo Performance\u003c/em>\u003cbr>\nIt’s not often that a Bay Area artist makes waves in the country category, and Cam seemed just as surprised as anyone to be included on this year’s list of nominees. “Will you guys double check this? Am I actually nominated for a Grammy???” she posted on Facebook. “AHHHHHHHHHH!!!” Cam, born Camaron Ochs, grew up climbing redwood trees and singing in the Contra Costa Children’s Choir in the East Bay; by 2010, she was \u003ca href=\"http://www.sfbg.com/noise/2010/03/16/oaklands-camaron-ochs-may-inspire-folk-pop-barbie\" target=\"_blank\" rel=\"noopener\">playing the Stork Club and Mama Buzz Cafe in Oakland\u003c/a> while living in Temescal and making the rounds at Cafe du Nord. “Burning House” also features a string arrangement by Hamilton Ulmer, of \u003ca href=\"http://ww2.kqed.org/arts/2015/07/09/listen-in-oaklands-makeunder-on-kandinsky-motown-and-death/\" target=\"_blank\" rel=\"noopener\">Oakland band Makeunder\u003c/a>. \u003ca href=\"https://www.youtube.com/watch?v=uyGSe76rAJc\" target=\"_blank\" rel=\"noopener\">Hear it here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11143646\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Dead.jpg\" alt=\"The Grateful Dead, '30 Trips Around the Sun.'\" width=\"325\" height=\"288\" class=\"size-full wp-image-11143646\">\u003cfigcaption class=\"wp-caption-text\">The Grateful Dead, ’30 Trips Around the Sun.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Grateful Dead – ‘30 Trips Around the Sun’\u003c/strong>\u003cbr>\n\u003cem>Best Boxed or Special Limited-Edition Package\u003c/em>\u003cbr>\nThis 80-disc box set contains one full live show per year from the Dead’s touring era with Jerry Garcia, from 1966 through 1995, ending with the last song the band ever performed live, “Box of Rain.” (If 80 discs seems like overkill, there’s also a 4-CD version with the set’s highlights.) Housed in a custom box that looks like something the band might’ve kept their stash in, the discs are accompanied by a 288-page book with liner notes, remembrances from fans, and an essay by Dead archivist Nicholas Meriwether. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1116,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705045759,
"excerpt": "The 2016 Grammy nominations include Kehlani, Joshua Redman, Los Tigres del Norte, the Turtle Island Quartet and other artists from the Bay Area.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The 2016 Grammy nominations include Kehlani, Joshua Redman, Los Tigres del Norte, the Turtle Island Quartet and other artists from the Bay Area.",
"title": "Bay Area Represented in 2016 Grammy Nominations | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bay Area Represented in 2016 Grammy Nominations",
"datePublished": "2015-12-07T15:00:43-08:00",
"dateModified": "2024-01-11T23:49:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bay-area-artists-with-2016-grammy-nominations",
"status": "publish",
"sticky": false,
"path": "/arts/11143285/bay-area-artists-with-2016-grammy-nominations",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 58th Annual Grammy Award nominations, \u003ca href=\"https://www.grammy.com/nominees\" target=\"_blank\" rel=\"noopener\">just announced\u003c/a>, find Kendrick Lamar, Taylor Swift and the Weeknd battling it out for top honors — Lamar holds 11 nominations, while Swift and the Weeknd each have seven.\u003c/p>\n\u003cp>Here in the Bay Area, there’s plenty of celebrating as well. In anticipation of the big night when winners are announced (Feb. 15 on CBS), here’s eight of today’s Grammy nominees from the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_11143642\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/kehlani-you-should-be-here.jpg\" alt=\"Kehlani, 'You Should Be Here."\" width=\"325\" height=\"325\" class=\"size-full wp-image-11143642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/kehlani-you-should-be-here.jpg 325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/kehlani-you-should-be-here-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/kehlani-you-should-be-here-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/kehlani-you-should-be-here-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/kehlani-you-should-be-here-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/kehlani-you-should-be-here-75x75.jpg 75w\" sizes=\"(max-width: 325px) 100vw, 325px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani, ‘You Should Be Here.”\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Kehlani – ‘You Should Be Here’\u003c/strong>\u003cbr>\n\u003cem>Best Urban Contemporary Album\u003c/em>\u003cbr>\nKehlani grew up in Oakland, reps the Town pretty hard and only recently relocated to L.A. to record her major-label debut. \u003cem>You Should Be Here\u003c/em> was originally released as a mixtape for free download, and Kehlani has been selling out shows both \u003ca href=\"http://ww2.kqed.org/arts/2015/07/28/live-review-kehlani-crests-the-tsunami-of-stardom-at-slims/\" target=\"_blank\" rel=\"noopener\">on her own\u003c/a> and with \u003ca href=\"http://ww2.kqed.org/arts/2015/03/24/a-day-in-the-life-with-breakout-bay-area-rappers-hbk-gang/\" target=\"_blank\" rel=\"noopener\">Richmond’s HBK Gang\u003c/a> ever since. (Read our review from a July show in San Francisco \u003ca href=\"http://ww2.kqed.org/arts/2015/07/28/live-review-kehlani-crests-the-tsunami-of-stardom-at-slims/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.) “I jus got to London it’s 1:47 pm and I’m on the ground shaking and crying… I don’t even know what to do with myself. Grammy nominated before 21,” she \u003ca href=\"https://www.instagram.com/p/-_ilxQPD_E/\" target=\"_blank\" rel=\"noopener\">posted on Instagram\u003c/a> today, adding later: “I’m doing it all for my city, my family and every little girl out there who is told she can’t succeed.”\u003c/p>\n\u003cfigure id=\"attachment_11143644\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kendrick.jpg\" alt='Colin Tilley and Kendrick Lamar on set for \"Alright.\"' width=\"325\" height=\"325\" class=\"size-full wp-image-11143644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick.jpg 325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-75x75.jpg 75w\" sizes=\"(max-width: 325px) 100vw, 325px\">\u003cfigcaption class=\"wp-caption-text\">Colin Tilley and Kendrick Lamar on set for “Alright.” \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Director Colin Tilley (Kendrick Lamar – “Alright”)\u003c/strong>\u003cbr>\n\u003cem>Best Music Video\u003c/em>\u003cbr>\n“Alright” is pretty much \u003cem>the\u003c/em> anthem for 2015, and its video, directed by Berkeley native Colin Tilley and partially shot on Treasure Island, is definitely one of the year’s best. With scenes of the San Francisco skyline and wide-angle pans of local \u003ca href=\"http://www.onecypher.com/2015/07/02/bay-area-dancers-featured-on-kendrick-lamar-music-video/\" target=\"_blank\" rel=\"noopener\">turf dancers\u003c/a> and extras, “Alright” had the hip-hop world abuzz the week of its release over its surreal vignettes and unpredictable twists. “It’s an incredible feeling to put everything you got into a project and see it pay off with more opportunities to keep growing as an artist. I’ve directed over 200 music videos in the last 7 years. But this one was just special,” Tilley \u003ca href=\"https://www.instagram.com/p/-_oEheOzUN/\" target=\"_blank\" rel=\"noopener\">said today on Instagram\u003c/a>. “The Grammys though! Real Berkeley.”\u003c/p>\n\u003cfigure id=\"attachment_11143639\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/the-bad-plus-joshua-redman.jpg\" alt=\"'The Bad Plus Joshua Redman.'\" width=\"325\" height=\"288\" class=\"size-full wp-image-11143639\">\u003cfigcaption class=\"wp-caption-text\">‘The Bad Plus Joshua Redman.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Joshua Redman – “Friend or Foe”\u003c/strong>\u003cbr>\n\u003cem>Best Improvised Jazz Solo \u003c/em>\u003cbr>\nBerkeley High graduate Redman is no stranger to the Grammy nominations, but this year’s nod shows just how far he’s come. Previously nominated in 1993 and 2005 for his albums \u003cem>Joshua Redman\u003c/em> and \u003cem>Momentum\u003c/em>, respectively, Redman this year is honored for his solo on “\u003ca href=\"https://www.youtube.com/watch?v=g9tf8gS-TdA\" target=\"_blank\" rel=\"noopener\">Friend or Foe\u003c/a>,” a highlight of his excellent album with the Bad Plus. (Hear it \u003ca href=\"https://youtu.be/g9tf8gS-TdA?t=3m15s\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.) Redman’s a humble guy, but when he and the Bad Plus settle in for a \u003ca href=\"http://www.sfjazz.org/events/2015-16/1213/bad-plus-redman\" target=\"_blank\" rel=\"noopener\">four-day residency at SFJAZZ\u003c/a> this week, expect the Bad Plus to congratulate him on the Grammy nomination with their trademark wry humor. \u003c/p>\n\u003cfigure id=\"attachment_11143641\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/LosTigres.jpg\" alt=\"Los Tigres del Norte, 'Realidades.'\" width=\"325\" height=\"325\" class=\"size-full wp-image-11143641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LosTigres.jpg 325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LosTigres-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LosTigres-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LosTigres-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LosTigres-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/LosTigres-75x75.jpg 75w\" sizes=\"(max-width: 325px) 100vw, 325px\">\u003cfigcaption class=\"wp-caption-text\">Los Tigres del Norte, ‘Realidades.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Los Tigres del Norte – ‘Realidades’\u003c/strong>\u003cbr>\n\u003cem>Best Regional Mexican Music Album\u003c/em>\u003cbr>\nSince immigrating to the U.S. in the late 1960s, San Jose quintet Los Tigres del Norte have been the world’s best-known purveyors of \u003cem>narcocorridos\u003c/em> — the storytelling songs of the drug trade that \u003ca href=\"http://www.npr.org/sections/altlatino/2015/07/16/423198482/narco-ballads-praising-el-chapo-or-portraying-the-corrupt-truth\" target=\"_blank\" rel=\"noopener\">made headlines earlier this year\u003c/a> when Mexican drug kingpin El Chapo escaped from prison, eliciting many tributes in song — as well as songs of love, death, and the immigrant experience. It’s no surprise to see Los Tigres on the Grammy list; they usually fill large arenas, often performing for as long as four hours per show. \u003c/p>\n\u003cfigure id=\"attachment_11143640\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/TurtleIsland.jpg\" alt=\"Turtle Island Quartet, 'Confetti Man.'\" width=\"325\" height=\"292\" class=\"size-full wp-image-11143640\">\u003cfigcaption class=\"wp-caption-text\">Turtle Island Quartet, ‘Confetti Man.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>David Balakrishnan – “Confetti Man” (Turtle Island Quartet)\u003c/strong>\u003cbr>\n\u003cem>Best Instrumental Composition\u003c/em>\u003cbr>\nThe Turtle Island Quartet are a 30-year Bay Area institution with two Grammy wins beneath their collective belt (for \u003cem>A Love Supreme: The Legacy Of John Coltrane\u003c/em> and \u003cem>4+Four\u003c/em>), and founder David Balakrishnan has been nominated twice for best instrumental arrangement. Here, he’s honored for the two-part composition “Confetti Man,” from the album of the same name and inspired by a painting by his wife. \u003ca href=\"https://www.youtube.com/watch?v=JvZx27Y1yNI&list=PLSwNd4MGIzvj52Pqu0k--cOcWAYEu5v42\" target=\"_blank\" rel=\"noopener\">Hear it here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11143643\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/AskYourMama.jpg\" alt=\"'Ask Your Mama.'\" width=\"325\" height=\"325\" class=\"size-full wp-image-11143643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AskYourMama.jpg 325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AskYourMama-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AskYourMama-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AskYourMama-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AskYourMama-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AskYourMama-75x75.jpg 75w\" sizes=\"(max-width: 325px) 100vw, 325px\">\u003cfigcaption class=\"wp-caption-text\">‘Ask Your Mama.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>George Manahan & San Francisco Ballet Orchestra – ‘Ask Your Mama’\u003c/strong>\u003cbr>\n\u003cem>Best Engineered Album (Classical)\u003c/em>\u003cbr>\nThe poem cycle \u003cem>Ask Your Mama: 12 Moods for Jazz\u003c/em> by American great Langston Hughes features the San Francisco Ballet Orchestra under the direction of George Manahan, and was recorded at Skywalker Sound in Marin County. Hughes’ original text, about the African-American tradition of invoking one’s mama as an insult, featured Hughes’ notes in the margins about his ideas for musical accompaniment; composer Laura Karpman followed those notes for this release. The recording features soprano Janai Brugger, jazz vocalist Nnenna Freelon, and Questlove and Black Thought from the Roots. \u003c/p>\n\u003cfigure id=\"attachment_11143645\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Cam.jpg\" alt='Cam, \"Burning House.\"' width=\"325\" height=\"325\" class=\"size-full wp-image-11143645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cam.jpg 325w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cam-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cam-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cam-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cam-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Cam-75x75.jpg 75w\" sizes=\"(max-width: 325px) 100vw, 325px\">\u003cfigcaption class=\"wp-caption-text\">Cam, “Burning House.”\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Cam – “Burning House”\u003c/strong>\u003cbr>\n\u003cem>Best Country Solo Performance\u003c/em>\u003cbr>\nIt’s not often that a Bay Area artist makes waves in the country category, and Cam seemed just as surprised as anyone to be included on this year’s list of nominees. “Will you guys double check this? Am I actually nominated for a Grammy???” she posted on Facebook. “AHHHHHHHHHH!!!” Cam, born Camaron Ochs, grew up climbing redwood trees and singing in the Contra Costa Children’s Choir in the East Bay; by 2010, she was \u003ca href=\"http://www.sfbg.com/noise/2010/03/16/oaklands-camaron-ochs-may-inspire-folk-pop-barbie\" target=\"_blank\" rel=\"noopener\">playing the Stork Club and Mama Buzz Cafe in Oakland\u003c/a> while living in Temescal and making the rounds at Cafe du Nord. “Burning House” also features a string arrangement by Hamilton Ulmer, of \u003ca href=\"http://ww2.kqed.org/arts/2015/07/09/listen-in-oaklands-makeunder-on-kandinsky-motown-and-death/\" target=\"_blank\" rel=\"noopener\">Oakland band Makeunder\u003c/a>. \u003ca href=\"https://www.youtube.com/watch?v=uyGSe76rAJc\" target=\"_blank\" rel=\"noopener\">Hear it here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11143646\" class=\"wp-caption alignright\" style=\"max-width: 325px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Dead.jpg\" alt=\"The Grateful Dead, '30 Trips Around the Sun.'\" width=\"325\" height=\"288\" class=\"size-full wp-image-11143646\">\u003cfigcaption class=\"wp-caption-text\">The Grateful Dead, ’30 Trips Around the Sun.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Grateful Dead – ‘30 Trips Around the Sun’\u003c/strong>\u003cbr>\n\u003cem>Best Boxed or Special Limited-Edition Package\u003c/em>\u003cbr>\nThis 80-disc box set contains one full live show per year from the Dead’s touring era with Jerry Garcia, from 1966 through 1995, ending with the last song the band ever performed live, “Box of Rain.” (If 80 discs seems like overkill, there’s also a 4-CD version with the set’s highlights.) Housed in a custom box that looks like something the band might’ve kept their stash in, the discs are accompanied by a 288-page book with liner notes, remembrances from fans, and an essay by Dead archivist Nicholas Meriwether. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11143285/bay-area-artists-with-2016-grammy-nominations",
"authors": [
"185"
],
"categories": [
"arts_69"
],
"tags": [
"arts_596"
],
"featImg": "arts_11143654",
"label": "arts"
},
"about_5749": {
"type": "posts",
"id": "about_5749",
"meta": {
"index": "posts_1716263798",
"site": "about",
"id": "5749",
"score": null,
"sort": [
1449511649000
]
},
"parent": 0,
"labelTerm": {
"site": "about",
"term": 15
},
"blocks": [],
"publishDate": 1449511649,
"format": "standard",
"disqusTitle": "WIN: Tickets to Maceo Parker at SFJAZZ!",
"title": "WIN: Tickets to Maceo Parker at SFJAZZ!",
"headTitle": "Giveaways | About KQED",
"content": "\u003cp>SFJAZZ is \u003ca href=\"http://sfjazz.org/events/2015-16/1231/nye\" target=\"_blank\">ringing in the New Year with funk master Maceo Parker\u003c/a> at the new SFJAZZ Center in San Francisco’s Hayes Valley! Parker rose to fame playing with James Brown, George Clinton, and Prince. Now with his own band, the saxophonist and singer will have you dancing on your feet. \u003cstrong>Best of all, \u003cstrong>we've got a pair of tickets worth $120 to give away!\u003c/strong>\u003c/strong>\u003c/p>\n\u003cp style=\"color: #000000\">To be in with a chance of winning them, just send an email to \u003ca style=\"color: #114999\" href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"Maceo\" that contains your full name.\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select a winner to receive two tickets (worth $60 per ticket.) \u003cstrong>Deadline to enter is Thursday, December 10 at 9am.\u003c/strong> Winners will be notified by e-mail on Thursday , and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"color: #000000\">\u003ca href=\"http://sfjazz.org/events/2015-16/1231/nye\" target=\"_blank\">Maceo Parker: Funky New Year's Eve Party\u003cbr>\n\u003c/a>\u003cstrong style=\"line-height: 1.5\">\u003cstrong>8 pm, Thursday, December 31\u003cbr>\n\u003c/strong>\u003c/strong>\u003cstrong>SFJAZZ Center, 201 Franklin Street, San Francisco, CA 94102\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"disqusIdentifier": "5749 http://ww2.kqed.org/about?p=5749&preview_id=5749",
"disqusUrl": "https://ww2.kqed.org/about/2015/12/07/maceo-parker-sfjazz/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 187,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 3
},
"modified": 1449511649,
"excerpt": null,
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "SFJAZZ is ringing in the New Year with funk master Maceo Parker at the new SFJAZZ Center in San Francisco’s Hayes Valley! Parker rose to fame playing with James Brown, George Clinton, and Prince. Now with his own band, the saxophonist and singer will have you dancing on your feet. Best of all, we've got",
"title": "WIN: Tickets to Maceo Parker at SFJAZZ! | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "WIN: Tickets to Maceo Parker at SFJAZZ!",
"datePublished": "2015-12-07T10:07:29-08:00",
"dateModified": "2015-12-07T10:07:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "maceo-parker-sfjazz",
"status": "publish",
"path": "/about/5749/maceo-parker-sfjazz",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SFJAZZ is \u003ca href=\"http://sfjazz.org/events/2015-16/1231/nye\" target=\"_blank\">ringing in the New Year with funk master Maceo Parker\u003c/a> at the new SFJAZZ Center in San Francisco’s Hayes Valley! Parker rose to fame playing with James Brown, George Clinton, and Prince. Now with his own band, the saxophonist and singer will have you dancing on your feet. \u003cstrong>Best of all, \u003cstrong>we've got a pair of tickets worth $120 to give away!\u003c/strong>\u003c/strong>\u003c/p>\n\u003cp style=\"color: #000000\">To be in with a chance of winning them, just send an email to \u003ca style=\"color: #114999\" href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"Maceo\" that contains your full name.\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select a winner to receive two tickets (worth $60 per ticket.) \u003cstrong>Deadline to enter is Thursday, December 10 at 9am.\u003c/strong> Winners will be notified by e-mail on Thursday , and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"color: #000000\">\u003ca href=\"http://sfjazz.org/events/2015-16/1231/nye\" target=\"_blank\">Maceo Parker: Funky New Year's Eve Party\u003cbr>\n\u003c/a>\u003cstrong style=\"line-height: 1.5\">\u003cstrong>8 pm, Thursday, December 31\u003cbr>\n\u003c/strong>\u003c/strong>\u003cstrong>SFJAZZ Center, 201 Franklin Street, San Francisco, CA 94102\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/about/5749/maceo-parker-sfjazz",
"authors": [
"6626"
],
"programs": [
"about_15"
],
"featImg": "about_5752",
"label": "about_15"
},
"pop_19320": {
"type": "posts",
"id": "pop_19320",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "19320",
"score": null,
"sort": [
1449521317000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1449521317,
"format": "video",
"disqusTitle": "Watch: Sharon Jones & the Dap-Kings Celebrate \"8 Days (of Hanukkah)\"",
"title": "Watch: Sharon Jones & the Dap-Kings Celebrate \"8 Days (of Hanukkah)\"",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Just yesterday, our friends at the California Report posed the question: \u003ca href=\"http://ww2.kqed.org/news/2015/12/06/where-is-all-the-hanukkah-music\" target=\"_blank\">Where are all the good Hanukkah songs?\u003c/a>\u003c/p>\n\u003cp>After all, some of the world's best-loved Christmas songs -- “Let It Snow!,” “Winter Wonderland,” “White Christmas,” and “Rudolph the Red-Nosed Reindeer,” to name a few -- were written by Jews. But when it comes to Hanukkah, the pickins are mighty slim: You have traditional hymns (like \"Rock of Ages\") and you have parodies (like Adam Sandler's \"Hanukkah Song\"). Yawn. Pass the sour cream.\u003c/p>\n\u003cp>Enter the fierce, funky life-giving force that is Sharon Jones!\u003c/p>\n\u003cp>The singer-bandleader, who \u003ca href=\"http://www.npr.org/2014/01/12/261424325/no-music-no-headphones-sharon-jones-on-getting-through-cancer\" target=\"_blank\">bounced back from cancer last year\u003c/a> to deliver \u003cem>Give the People What They Want\u003c/em> -- perhaps her most spirited record to date -- dropped a video for \"8 Days (of Hanukkah)\" on Dec. 7. The tune reimagines the Festival of Lights as the Festival of Love, complete with an irresistible horn riff, lyrics about buying brisket from the local kosher butcher, and animated, dancing dreidels, thanks to artist-director Rich Terrana. Give it a watch below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VT2_7aq3ytE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The tune is available on the band's recent record, \u003cem>\u003ca href=\"http://www.rollingstone.com/music/albumreviews/sharon-jones-the-dap-kings-its-a-holiday-soul-party-20151029\" target=\"_blank\">It's A Holiday Soul Party\u003c/a>\u003c/em>. Fingers crossed they'll play it on \u003cem>Colbert\u003c/em> this Friday too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"disqusIdentifier": "19320 http://ww2.kqed.org/pop/?p=19320",
"disqusUrl": "https://ww2.kqed.org/pop/2015/12/07/watch-sharon-jones-the-dap-kings-celebrate-8-days-of-hanukkah/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 224,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1449521671,
"excerpt": "Dancing dreidels, kosher brisket, and the Dap-Kings? Stop, we're getting all verklempt. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Dancing dreidels, kosher brisket, and the Dap-Kings? Stop, we're getting all verklempt. ",
"title": "Watch: Sharon Jones & the Dap-Kings Celebrate \"8 Days (of Hanukkah)\" | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Watch: Sharon Jones & the Dap-Kings Celebrate \"8 Days (of Hanukkah)\"",
"datePublished": "2015-12-07T12:48:37-08:00",
"dateModified": "2015-12-07T12:54:31-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "watch-sharon-jones-the-dap-kings-celebrate-8-days-of-hanukkah",
"status": "publish",
"path": "/pop/19320/watch-sharon-jones-the-dap-kings-celebrate-8-days-of-hanukkah",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just yesterday, our friends at the California Report posed the question: \u003ca href=\"http://ww2.kqed.org/news/2015/12/06/where-is-all-the-hanukkah-music\" target=\"_blank\">Where are all the good Hanukkah songs?\u003c/a>\u003c/p>\n\u003cp>After all, some of the world's best-loved Christmas songs -- “Let It Snow!,” “Winter Wonderland,” “White Christmas,” and “Rudolph the Red-Nosed Reindeer,” to name a few -- were written by Jews. But when it comes to Hanukkah, the pickins are mighty slim: You have traditional hymns (like \"Rock of Ages\") and you have parodies (like Adam Sandler's \"Hanukkah Song\"). Yawn. Pass the sour cream.\u003c/p>\n\u003cp>Enter the fierce, funky life-giving force that is Sharon Jones!\u003c/p>\n\u003cp>The singer-bandleader, who \u003ca href=\"http://www.npr.org/2014/01/12/261424325/no-music-no-headphones-sharon-jones-on-getting-through-cancer\" target=\"_blank\">bounced back from cancer last year\u003c/a> to deliver \u003cem>Give the People What They Want\u003c/em> -- perhaps her most spirited record to date -- dropped a video for \"8 Days (of Hanukkah)\" on Dec. 7. The tune reimagines the Festival of Lights as the Festival of Love, complete with an irresistible horn riff, lyrics about buying brisket from the local kosher butcher, and animated, dancing dreidels, thanks to artist-director Rich Terrana. Give it a watch below.\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/VT2_7aq3ytE'\n title='//www.youtube.com/embed/VT2_7aq3ytE'\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>The tune is available on the band's recent record, \u003cem>\u003ca href=\"http://www.rollingstone.com/music/albumreviews/sharon-jones-the-dap-kings-its-a-holiday-soul-party-20151029\" target=\"_blank\">It's A Holiday Soul Party\u003c/a>\u003c/em>. Fingers crossed they'll play it on \u003cem>Colbert\u003c/em> this Friday too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/19320/watch-sharon-jones-the-dap-kings-celebrate-8-days-of-hanukkah",
"authors": [
"7237"
],
"categories": [
"pop_4"
],
"featImg": "pop_19323",
"label": "pop"
},
"news_10782409": {
"type": "posts",
"id": "news_10782409",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10782409",
"score": null,
"sort": [
1449406817000
]
},
"guestAuthors": [],
"slug": "where-is-all-the-hanukkah-music",
"title": "Where Are All the Hanukkah Songs?",
"publishDate": 1449406817,
"format": "standard",
"headTitle": "Where Are All the Hanukkah Songs? | KQED",
"labelTerm": {
"term": 72,
"site": "news"
},
"content": "\u003cp>If you’ve been to a shopping mall or turned on the radio since Thanksgiving, chances are you’ve heard at least one of these Christmas standards: “Let It Snow!,” “Winter Wonderland,” “The Christmas Song (Chestnuts Roasting on an Open Fire),” “White Christmas,” “Silver Bells,” “A Holly Jolly Christmas” or “Rudolph the Red-Nosed Reindeer.”\u003c/p>\n\u003cp>What’s one thing those songs all have in common? Besides being ubiquitous this time of year, they were all written by Jewish composers, mostly in the 1940s and ‘50s.\u003c/p>\n\u003cp>So if Jews are writing all the Christmas classics, who’s writing the Hanukkah songs?\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/236144190″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>There are actually a lot of Hanukkah songs, says Lihi Shadmi, an early childhood educator at the Silverlake Independent Jewish Community Center in Los Angeles. Most of us just haven’t learned them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I grew up in an Israeli household, so for me there are so many Hanukkah songs,” Shadi said. “And most of them are in Hebrew.”\u003c/p>\n\u003cp>On a recent weekday morning, Shadmi led a group of 4-year-olds in a Hanukkah singalong, including the classics “I Have a Little Dreidel” and “Oh Chanukah.”\u003c/p>\n\u003cp>On the eight nights of Hanukkah, Jews traditionally light candles, recite blessings and sing songs marking the victory of a group of Jewish rebels against their Syrian rulers more than 2,000 years ago.\u003c/p>\n\u003cp>The best-known Hanukkah song is also the oldest: the hymn “Maoz Tzur,” or “Rock of Ages.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OQuyCNiHFAw\u003c/p>\n\u003cp>“The melody of Maoz Tzur comes out of a concatenation of influences of different hymn melodies that were done in the 17th century, during the time period of the German Reformation. And various scholars who have looked at it have been able to trace the origins of these melodies to these hymns. And by the late 18th, early 19th century we get Maoz Tzur in the framework that we know it today,” said Mark Kligman, a professor of Jewish music at UCLA.\u003c/p>\n\u003cp>That melody has been used in different parts of the Jewish liturgy, including for the candle blessings.\u003c/p>\n\u003cp>But most of the Hanukkah songs we know today can be traced back to the Tin Pan Alley era of the 1910s and ’20s, when Jewish immigrants in New York created a whole new genre of more playful Hanukkah songs. Samuel Goldfarb wrote “I Have A Little Dreidel” and “On This Night Let Us Light One Little Candle Fire.”\u003c/p>\n\u003caside class=\"pullquote alignright\">Most of the Hanukkah songs we know today can be traced back to the Tin Pan Alley era of the 1910s and ’20s.\u003c/aside>\n\u003cp>These melodies were supported by the Jewish Welfare Board, an organization in New York that helped Jewish immigrants — and part of that was through music. But newer Hanukkah music, liturgical or not, hasn’t caught on in the same way.\u003c/p>\n\u003cp>“Jews in general are very reluctant to pick up new melodies, particularly for ritual contexts,” Kligman said.\u003c/p>\n\u003cp>So instead, a whole genre of Hanukkah parody songs has emerged. One of the biggest debuted over 20 years ago on “Saturday Night Live”: Adam Sandler’s “Hanukkah Song,” which rhymes the holiday’s name with words like yarmulke, funukah and marijuanuka.\u003c/p>\n\u003cp>He unveiled the fourth version of his now-classic song just last month, listing such notable Jews as Jesus, Olaf (the “Frozen” snowman voiced by Josh Gad), Punky Brewster (played on TV by Soleil Moon Frye) and film producer Scott Rudin.\u003c/p>\n\u003cp>With the rise of YouTube and user-generated content, there are now countless Hanukkah parody songs, changing the lyrics of such hits as Taylor Swift’s “Shake It Off,” Adele’s “Rolling In The Deep” and Outkast’s “Hey Ya.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N_k5jnIXaQ8\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J9d2fN1fPSw\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3aDDmt-8ZSM\u003c/p>\n\u003cp>Rachel Bloom (who currently stars in CW’s “Crazy Ex-Girlfriend”) released a 2013 comedy musical album called “Suck It, Christmas!!!” It included this parody of “Santa Baby.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7U0k_vHxc2k\u003c/p>\n\u003cp>“I think we were talking about how there just aren’t that many songs out there that deal with, like, Hanukkah or Judaism that are funny and also good,” said Jack Dolgen, who co-wrote and produced the album.\u003c/p>\n\u003cp>But there’s one Hanukkah video that’s really gone viral. “Candlelight,” performed by a Yeshiva University all-male a capella group called The Maccabeats, has more than 10 million views on YouTube:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qSJCSR4MuhU\u003c/p>\n\u003cp>When it comes down to it, though, if you celebrate Hanukkah, you’ll light the candles and recite the blessings, and then sing “I Have A Little Dreidel” and other classics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then you might search for the latest viral Hanukkah video and watch it with your family. So to answer the question of who will write the next Hanukkah classic: Maybe it’ll be you.\u003c/p>\n\n",
"blocks": [],
"excerpt": "'White Christmas,' 'Silver Bells' and 'A Holly Jolly Christmas' were all written by Jews. So who’s writing the Hanukkah songs?",
"status": "publish",
"parent": 0,
"modified": 1721108111,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 24,
"wordCount": 930
},
"headData": {
"title": "Where Are All the Hanukkah Songs? | KQED",
"description": "'White Christmas,' 'Silver Bells' and 'A Holly Jolly Christmas' were all written by Jews. So who’s writing the Hanukkah songs?",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Where Are All the Hanukkah Songs?",
"datePublished": "2015-12-06T05:00:17-08:00",
"dateModified": "2024-07-15T22:35:11-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"sticky": false,
"nprByline": "\u003cstrong>\u003ca href=\"http://www.kcrw.com/people/avishay-artsy\">Avishay Artsy\u003c/a>\u003c/strong>",
"path": "/news/10782409/where-is-all-the-hanukkah-music",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been to a shopping mall or turned on the radio since Thanksgiving, chances are you’ve heard at least one of these Christmas standards: “Let It Snow!,” “Winter Wonderland,” “The Christmas Song (Chestnuts Roasting on an Open Fire),” “White Christmas,” “Silver Bells,” “A Holly Jolly Christmas” or “Rudolph the Red-Nosed Reindeer.”\u003c/p>\n\u003cp>What’s one thing those songs all have in common? Besides being ubiquitous this time of year, they were all written by Jewish composers, mostly in the 1940s and ‘50s.\u003c/p>\n\u003cp>So if Jews are writing all the Christmas classics, who’s writing the Hanukkah songs?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/236144190″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/236144190″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There are actually a lot of Hanukkah songs, says Lihi Shadmi, an early childhood educator at the Silverlake Independent Jewish Community Center in Los Angeles. Most of us just haven’t learned them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I grew up in an Israeli household, so for me there are so many Hanukkah songs,” Shadi said. “And most of them are in Hebrew.”\u003c/p>\n\u003cp>On a recent weekday morning, Shadmi led a group of 4-year-olds in a Hanukkah singalong, including the classics “I Have a Little Dreidel” and “Oh Chanukah.”\u003c/p>\n\u003cp>On the eight nights of Hanukkah, Jews traditionally light candles, recite blessings and sing songs marking the victory of a group of Jewish rebels against their Syrian rulers more than 2,000 years ago.\u003c/p>\n\u003cp>The best-known Hanukkah song is also the oldest: the hymn “Maoz Tzur,” or “Rock of Ages.”\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/OQuyCNiHFAw'\n title='//www.youtube.com/embed/OQuyCNiHFAw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The melody of Maoz Tzur comes out of a concatenation of influences of different hymn melodies that were done in the 17th century, during the time period of the German Reformation. And various scholars who have looked at it have been able to trace the origins of these melodies to these hymns. And by the late 18th, early 19th century we get Maoz Tzur in the framework that we know it today,” said Mark Kligman, a professor of Jewish music at UCLA.\u003c/p>\n\u003cp>That melody has been used in different parts of the Jewish liturgy, including for the candle blessings.\u003c/p>\n\u003cp>But most of the Hanukkah songs we know today can be traced back to the Tin Pan Alley era of the 1910s and ’20s, when Jewish immigrants in New York created a whole new genre of more playful Hanukkah songs. Samuel Goldfarb wrote “I Have A Little Dreidel” and “On This Night Let Us Light One Little Candle Fire.”\u003c/p>\n\u003caside class=\"pullquote alignright\">Most of the Hanukkah songs we know today can be traced back to the Tin Pan Alley era of the 1910s and ’20s.\u003c/aside>\n\u003cp>These melodies were supported by the Jewish Welfare Board, an organization in New York that helped Jewish immigrants — and part of that was through music. But newer Hanukkah music, liturgical or not, hasn’t caught on in the same way.\u003c/p>\n\u003cp>“Jews in general are very reluctant to pick up new melodies, particularly for ritual contexts,” Kligman said.\u003c/p>\n\u003cp>So instead, a whole genre of Hanukkah parody songs has emerged. One of the biggest debuted over 20 years ago on “Saturday Night Live”: Adam Sandler’s “Hanukkah Song,” which rhymes the holiday’s name with words like yarmulke, funukah and marijuanuka.\u003c/p>\n\u003cp>He unveiled the fourth version of his now-classic song just last month, listing such notable Jews as Jesus, Olaf (the “Frozen” snowman voiced by Josh Gad), Punky Brewster (played on TV by Soleil Moon Frye) and film producer Scott Rudin.\u003c/p>\n\u003cp>With the rise of YouTube and user-generated content, there are now countless Hanukkah parody songs, changing the lyrics of such hits as Taylor Swift’s “Shake It Off,” Adele’s “Rolling In The Deep” and Outkast’s “Hey Ya.”\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/N_k5jnIXaQ8'\n title='//www.youtube.com/embed/N_k5jnIXaQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=J9d2fN1fPSw\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/3aDDmt-8ZSM'\n title='//www.youtube.com/embed/3aDDmt-8ZSM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rachel Bloom (who currently stars in CW’s “Crazy Ex-Girlfriend”) released a 2013 comedy musical album called “Suck It, Christmas!!!” It included this parody of “Santa Baby.”\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/7U0k_vHxc2k'\n title='//www.youtube.com/embed/7U0k_vHxc2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think we were talking about how there just aren’t that many songs out there that deal with, like, Hanukkah or Judaism that are funny and also good,” said Jack Dolgen, who co-wrote and produced the album.\u003c/p>\n\u003cp>But there’s one Hanukkah video that’s really gone viral. “Candlelight,” performed by a Yeshiva University all-male a capella group called The Maccabeats, has more than 10 million views on YouTube:\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/qSJCSR4MuhU'\n title='//www.youtube.com/embed/qSJCSR4MuhU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When it comes down to it, though, if you celebrate Hanukkah, you’ll light the candles and recite the blessings, and then sing “I Have A Little Dreidel” and other classics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then you might search for the latest viral Hanukkah video and watch it with your family. So to answer the question of who will write the next Hanukkah classic: Maybe it’ll be you.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10782409/where-is-all-the-hanukkah-music",
"authors": [
"byline_news_10782409"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_160",
"news_1425",
"news_856",
"news_17286"
],
"featImg": "news_10782424",
"label": "news_72"
},
"arts_11129413": {
"type": "posts",
"id": "arts_11129413",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11129413",
"score": null,
"sort": [
1449259231000
]
},
"guestAuthors": [],
"slug": "bay-area-high-school-choirs-face-off-in-american-idol-style-sing-off",
"title": "Bay Area High School Choirs Face Off in 'American Idol'-Style Sing-Off",
"publishDate": 1449259231,
"format": "standard",
"headTitle": "Bay Area High School Choirs Face Off in ‘American Idol’-Style Sing-Off | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>UPDATE: Monte Vista is the \u003ca href=\"http://www.kdfc.com/Announcing-the-Winner-of-KDFC-s-Local-Vocals-High-/22256149\" target=\"_blank\" rel=\"noopener\">winner of Local Vocals 2015\u003c/a>. Competition organizer Gail Eichenthal writes the Danville finalist was the “clear winner,” even though the other finalists had “strong showings.” Eichenthal suspects “From the Top” may post videos from all three high schools online, even if Monte Vista will be the only one to enjoy a nationally broadcast performance, on March 27, 2016.\u003c/p>\n\u003cp>The musical competition has been with us for a long, long time, but \u003ca href=\"http://www.americanidol.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>American Idol\u003c/em>\u003c/a> took the form to a whole new level, reaching highs – and lows – never seen before. The show\u003cspan style=\"font-weight: 400\">’s phenomenal popularity has inspired a host of TV shows, movies and real-world competitions, including a high school choir sing-off going on right now in the San Francisco Bay Area.\u003c/span>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/236141441″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Three choirs are in the run-off to win the chance to perform for a national audience in February. And as in American Idol, your vote could determine who wins.\u003c/p>\n\u003cp>Here’s one of the three finalists, the \u003ca href=\"https://www.facebook.com/Monte-Vista-High-School-Choir-140974959303697/?fref=nf\" target=\"_blank\" rel=\"noopener\">Monte Vista High School Chamber Singers\u003c/a> of Danville, singing “Pange Lingua:”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=8vhI9-SQLVc]\u003c/p>\n\u003cp>Not too shabby, right? Seventeen-year-old Tori Del Monte says the choir started working on the song at the beginning of the year.\u003c/p>\n\u003cp>“It was kind of an anthem, ringing in the back of our heads,” Del Monte said.\u003c/p>\n\u003cp>“Even on a bad day. Even when their diction is terrible. Their vowels are terrible. It’s still OK,” choir director Jodi Reed says while sitting opposite the choir, which is laughing along with her. “They’ll probably tell you I don’t complement them all that often. Or it’s back-handed complements. You know: it was \u003cem>almost\u003c/em> perfect! But sometimes I sit at the piano and I’m just overcome by ‘I cannot believe I get to do this every single day.'”\u003c/p>\n\u003cp>Monte Vista was one of 28 Bay Area schools that sent in videos to compete in the Local Vocals High School Sing Off organized by \u003ca href=\"http://www.kdfc.org\" target=\"_blank\" rel=\"noopener\">KDFC\u003c/a>, a local classical music radio station. President Bill Leuth came up with the idea.\u003c/p>\n\u003cp>“I know there’s a lot of talk about the demise of arts education,” Leuth says. “Yeah, it’s true and we all feel it. But there’s also some really good arts education that does go on, and this gives us a chance to say ‘Look at these choir directors, and what they’re doing with these kids.'” (It’s also true that Leuth sang in choir when he was in high school, and he remains a die-hard fan of the genre.)\u003c/p>\n\u003cp>The winner, to be announced Dec. 8, \u003cspan style=\"font-weight: 400\">gets to sing\u003c/span> \u003cspan style=\"font-weight: 400\">at San Jose State in February, a performance that will be nationally broadcast in March on “\u003ca href=\"http://www.fromthetop.org\" target=\"_blank\" rel=\"noopener\">From the Top\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">,”\u003c/span>\u003cspan style=\"font-weight: 400\"> a showcase for young classical musicians across the country. \u003c/span>\u003c/p>\n\u003cp>Danville, 45 minutes east of San Francisco, turns out to be a hotbed of high school classical choir talent. Neighborhood rival \u003ca href=\"https://www.facebook.com/San-Ramon-Voices-130595840303286/?fref=nf\" target=\"_blank\" rel=\"noopener\">San Ramon Valley High School\u003c/a>, featured on KQED’s \u003ca href=\"http://ww2.kqed.org/spark/san-ramon-valley-high-school-concert-choir/\" target=\"_blank\" rel=\"noopener\">Spark\u003c/a> not too long ago, also claimed a spot in the second round with “Ave Maris Stella.”\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=imt9y_q69jA]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monte Vista and San Ramon Valley have faced off before, in other competitions. What’s in the secret sauce? In large part, money, says San Ramon Valley Choir Director Ken Abrams.\u003c/span>\u003c/p>\n\u003cp>“Well, it’s a public school in that, yes, we get money from the state,” he says. “But we have a lot of parents that contribute and help and volunteer, so in many ways, we feel like a private school some days.”\u003c/p>\n\u003cp>Yes, his salary is covered in the school budget, he goes on to explain, but many of the extras — everything from the accompanist to international travel for the \u003cem>six\u003c/em> choirs at San Ramon Valley — are covered by a non-profit established expressly to support the choir program. After \u003ca href=\"http://ww2.kqed.org/lowdown/2015/10/29/the-taxpayers-revolt-how-proposition-13-changed-california-an-illustrated-explainer/\" target=\"_blank\" rel=\"noopener\">Proposition 13\u003c/a> gutted arts education funding across California, parents have done what they could to supplement extra-curricular programs. The wealthier the community, the fatter the coffers of the PTA and other booster organizations attached to public schools.\u003c/p>\n\u003cp>Abrams adds a choir is more than just a class, an academic resume booster for students intending to go on to college. These kids perform at local senior centers and community events, as well as at competitions.\u003c/p>\n\u003cp>The story is no different for the third Local Vocals finalist, \u003ca href=\"https://www.facebook.com/Gunn-High-School-Choir-135928676501600/?fref=nf\" target=\"_blank\" rel=\"noopener\">Gunn High School\u003c/a>, in Palo Alto, another wealthy neighborhood.\u003c/p>\n\u003cp>When asked about the way economic disparities play into high school arts, Leuth agreed hundreds of Bay Area schools are not represented. The competition is only in its first year, he noted, suggesting choir singers who don’t listen to KDFC may not have heard about the sing-off.\u003c/p>\n\u003cp>“Maybe it’s because our audience that listens to KDFC tends to be more upscale, because classical music still attracts that way,” Leuth says.\u003c/p>\n\u003cp>No professional choirs were allowed to participate, he added, or choirs that pull from multiple high schools. This competition, Leuth said, is meant to be a celebration of amateur effort at its finest. KDFC opted to keep the rules fairly loose to encourage more schools to participate, so contenders could apply with music that “leans” classical, even if it’s not, technically, classical.\u003c/p>\n\u003cp>The Gunn Concert Choir entered with music based on a poem, “I Am Not Yours,” by Sara Teasdale.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=dSKjR0P_zas]\u003c/p>\n\u003cp>There are two rounds in this competition. In the first round, the public advised a panel of judges who got to pick the three finalists. In the second round, the public vote determines the winner.\u003c/p>\n\u003cp>KDFC is bracing for an onslaught of clicks. An earlier contest in Los Angeles two years ago garnered 26,000 votes. Here in the Bay Area, more than 200,000 votes were cast in the semi-finals alone.\u003c/p>\n\u003cp>The judges were looking for cohesive and well-balanced sounds, rhythms, and dictions — and a strong men’s section. That’s something that eludes many high school choir programs, although “\u003ca href=\"http://www.fox.com/glee\" target=\"_blank\" rel=\"noopener\">Glee\u003c/a>” has done a lot to make singing more appealing to boys. Even so, mere mention of the TV show causes Liberatore to flinch.\u003c/p>\n\u003cp>“Did you notice that on Glee they don’t rehearse. Ever? They talk about their feelings. And then all of a sudden they jump up and the music is ready and perfect. I can’t stand that show!” Liberatore says.\u003c/p>\n\u003cp>He jokes that he’d be happy with placing in the finals. Planning a concert in February should Gunn would require a lot of work. But 16-year-old Olivia Eck is keeping her fingers crossed. “It’s really fun performing, especially with a crowd that’s really engaging with us. I think that’s the most exciting part.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/235770439″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=’166′ iframe=”true” /]\u003c/p>\n\n",
"blocks": [],
"excerpt": "Gunn, Monte Vista, San Ramon Valley high school choirs face off in KDFC choral competition: Local Vocals.",
"status": "publish",
"parent": 0,
"modified": 1726771131,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 32,
"wordCount": 1315
},
"headData": {
"title": "Bay Area High School Choirs Face Off in 'American Idol'-Style Sing-Off | KQED",
"description": "Gunn, Monte Vista, San Ramon Valley high school choirs face off in KDFC choral competition: Local Vocals.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bay Area High School Choirs Face Off in 'American Idol'-Style Sing-Off",
"datePublished": "2015-12-04T12:00:31-08:00",
"dateModified": "2024-09-19T11:38:51-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "465633761",
"path": "/arts/11129413/bay-area-high-school-choirs-face-off-in-american-idol-style-sing-off",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>UPDATE: Monte Vista is the \u003ca href=\"http://www.kdfc.com/Announcing-the-Winner-of-KDFC-s-Local-Vocals-High-/22256149\" target=\"_blank\" rel=\"noopener\">winner of Local Vocals 2015\u003c/a>. Competition organizer Gail Eichenthal writes the Danville finalist was the “clear winner,” even though the other finalists had “strong showings.” Eichenthal suspects “From the Top” may post videos from all three high schools online, even if Monte Vista will be the only one to enjoy a nationally broadcast performance, on March 27, 2016.\u003c/p>\n\u003cp>The musical competition has been with us for a long, long time, but \u003ca href=\"http://www.americanidol.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>American Idol\u003c/em>\u003c/a> took the form to a whole new level, reaching highs – and lows – never seen before. The show\u003cspan style=\"font-weight: 400\">’s phenomenal popularity has inspired a host of TV shows, movies and real-world competitions, including a high school choir sing-off going on right now in the San Francisco Bay Area.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/236141441″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/236141441″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Three choirs are in the run-off to win the chance to perform for a national audience in February. And as in American Idol, your vote could determine who wins.\u003c/p>\n\u003cp>Here’s one of the three finalists, the \u003ca href=\"https://www.facebook.com/Monte-Vista-High-School-Choir-140974959303697/?fref=nf\" target=\"_blank\" rel=\"noopener\">Monte Vista High School Chamber Singers\u003c/a> of Danville, singing “Pange Lingua:”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8vhI9-SQLVc'\n title='//www.youtube.com/embed/8vhI9-SQLVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Not too shabby, right? Seventeen-year-old Tori Del Monte says the choir started working on the song at the beginning of the year.\u003c/p>\n\u003cp>“It was kind of an anthem, ringing in the back of our heads,” Del Monte said.\u003c/p>\n\u003cp>“Even on a bad day. Even when their diction is terrible. Their vowels are terrible. It’s still OK,” choir director Jodi Reed says while sitting opposite the choir, which is laughing along with her. “They’ll probably tell you I don’t complement them all that often. Or it’s back-handed complements. You know: it was \u003cem>almost\u003c/em> perfect! But sometimes I sit at the piano and I’m just overcome by ‘I cannot believe I get to do this every single day.'”\u003c/p>\n\u003cp>Monte Vista was one of 28 Bay Area schools that sent in videos to compete in the Local Vocals High School Sing Off organized by \u003ca href=\"http://www.kdfc.org\" target=\"_blank\" rel=\"noopener\">KDFC\u003c/a>, a local classical music radio station. President Bill Leuth came up with the idea.\u003c/p>\n\u003cp>“I know there’s a lot of talk about the demise of arts education,” Leuth says. “Yeah, it’s true and we all feel it. But there’s also some really good arts education that does go on, and this gives us a chance to say ‘Look at these choir directors, and what they’re doing with these kids.'” (It’s also true that Leuth sang in choir when he was in high school, and he remains a die-hard fan of the genre.)\u003c/p>\n\u003cp>The winner, to be announced Dec. 8, \u003cspan style=\"font-weight: 400\">gets to sing\u003c/span> \u003cspan style=\"font-weight: 400\">at San Jose State in February, a performance that will be nationally broadcast in March on “\u003ca href=\"http://www.fromthetop.org\" target=\"_blank\" rel=\"noopener\">From the Top\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">,”\u003c/span>\u003cspan style=\"font-weight: 400\"> a showcase for young classical musicians across the country. \u003c/span>\u003c/p>\n\u003cp>Danville, 45 minutes east of San Francisco, turns out to be a hotbed of high school classical choir talent. Neighborhood rival \u003ca href=\"https://www.facebook.com/San-Ramon-Voices-130595840303286/?fref=nf\" target=\"_blank\" rel=\"noopener\">San Ramon Valley High School\u003c/a>, featured on KQED’s \u003ca href=\"http://ww2.kqed.org/spark/san-ramon-valley-high-school-concert-choir/\" target=\"_blank\" rel=\"noopener\">Spark\u003c/a> not too long ago, also claimed a spot in the second round with “Ave Maris Stella.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/imt9y_q69jA'\n title='//www.youtube.com/embed/imt9y_q69jA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monte Vista and San Ramon Valley have faced off before, in other competitions. What’s in the secret sauce? In large part, money, says San Ramon Valley Choir Director Ken Abrams.\u003c/span>\u003c/p>\n\u003cp>“Well, it’s a public school in that, yes, we get money from the state,” he says. “But we have a lot of parents that contribute and help and volunteer, so in many ways, we feel like a private school some days.”\u003c/p>\n\u003cp>Yes, his salary is covered in the school budget, he goes on to explain, but many of the extras — everything from the accompanist to international travel for the \u003cem>six\u003c/em> choirs at San Ramon Valley — are covered by a non-profit established expressly to support the choir program. After \u003ca href=\"http://ww2.kqed.org/lowdown/2015/10/29/the-taxpayers-revolt-how-proposition-13-changed-california-an-illustrated-explainer/\" target=\"_blank\" rel=\"noopener\">Proposition 13\u003c/a> gutted arts education funding across California, parents have done what they could to supplement extra-curricular programs. The wealthier the community, the fatter the coffers of the PTA and other booster organizations attached to public schools.\u003c/p>\n\u003cp>Abrams adds a choir is more than just a class, an academic resume booster for students intending to go on to college. These kids perform at local senior centers and community events, as well as at competitions.\u003c/p>\n\u003cp>The story is no different for the third Local Vocals finalist, \u003ca href=\"https://www.facebook.com/Gunn-High-School-Choir-135928676501600/?fref=nf\" target=\"_blank\" rel=\"noopener\">Gunn High School\u003c/a>, in Palo Alto, another wealthy neighborhood.\u003c/p>\n\u003cp>When asked about the way economic disparities play into high school arts, Leuth agreed hundreds of Bay Area schools are not represented. The competition is only in its first year, he noted, suggesting choir singers who don’t listen to KDFC may not have heard about the sing-off.\u003c/p>\n\u003cp>“Maybe it’s because our audience that listens to KDFC tends to be more upscale, because classical music still attracts that way,” Leuth says.\u003c/p>\n\u003cp>No professional choirs were allowed to participate, he added, or choirs that pull from multiple high schools. This competition, Leuth said, is meant to be a celebration of amateur effort at its finest. KDFC opted to keep the rules fairly loose to encourage more schools to participate, so contenders could apply with music that “leans” classical, even if it’s not, technically, classical.\u003c/p>\n\u003cp>The Gunn Concert Choir entered with music based on a poem, “I Am Not Yours,” by Sara Teasdale.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dSKjR0P_zas'\n title='//www.youtube.com/embed/dSKjR0P_zas'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There are two rounds in this competition. In the first round, the public advised a panel of judges who got to pick the three finalists. In the second round, the public vote determines the winner.\u003c/p>\n\u003cp>KDFC is bracing for an onslaught of clicks. An earlier contest in Los Angeles two years ago garnered 26,000 votes. Here in the Bay Area, more than 200,000 votes were cast in the semi-finals alone.\u003c/p>\n\u003cp>The judges were looking for cohesive and well-balanced sounds, rhythms, and dictions — and a strong men’s section. That’s something that eludes many high school choir programs, although “\u003ca href=\"http://www.fox.com/glee\" target=\"_blank\" rel=\"noopener\">Glee\u003c/a>” has done a lot to make singing more appealing to boys. Even so, mere mention of the TV show causes Liberatore to flinch.\u003c/p>\n\u003cp>“Did you notice that on Glee they don’t rehearse. Ever? They talk about their feelings. And then all of a sudden they jump up and the music is ready and perfect. I can’t stand that show!” Liberatore says.\u003c/p>\n\u003cp>He jokes that he’d be happy with placing in the finals. Planning a concert in February should Gunn would require a lot of work. But 16-year-old Olivia Eck is keeping her fingers crossed. “It’s really fun performing, especially with a crowd that’s really engaging with us. I think that’s the most exciting part.”\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>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='’166′'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/235770439″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/235770439″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11129413/bay-area-high-school-choirs-face-off-in-american-idol-style-sing-off",
"authors": [
"251"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_1037",
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_11129415",
"label": "arts"
},
"arts_11132961": {
"type": "posts",
"id": "arts_11132961",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11132961",
"score": null,
"sort": [
1449244854000
]
},
"guestAuthors": [],
"slug": "janis-little-girl-blue-goes-beyond-cliches-of-a-sad-childhood",
"title": "'Janis: Little Girl Blue' Goes Beyond Cliches Of A Sad Childhood",
"publishDate": 1449244854,
"format": "standard",
"headTitle": "‘Janis: Little Girl Blue’ Goes Beyond Cliches Of A Sad Childhood | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Rocker docs lie thick on the ground these days, most of them landlocked in a tired arc of childhood stress, rapid rise to stardom filled with drugs and debauchery, followed by decline and, for those who survive, extravagant rue-ing the day. And given the short, sharp life of Janis Joplin, any account of her has to spend time in that terrain. But though \u003cem>Janis: Little Girl Blue\u003c/em> — Amy J. Berg’s loving, exhaustively researched documentary about the whiskey-voiced blues interpreter — gives Joplin’s dark side its due, the film rarely succumbs to mawkish wallowing.\u003c/p>\n\u003cp>Berg is an honestly partisan filmmaker of social-issue documentaries (\u003cem>Deliver Us from Evil\u003c/em> and \u003cem>West of Memphis\u003c/em>); \u003cem>Janis\u003c/em> has an analytical edge, but it’s also a celebration that refuses to bog down Joplin in her sad adolescence, her troubles with love, or the booze and heroin habit that brought about her lonely 1971 death in a motel at age 27. Given that Joplin was an open book both on and offstage, a case could be made for letting rip with a pure concert movie. There’s plenty of wonderfully wild onstage footage and charming, behind-the-scenes goofing around here, and the movie is a fan’s appreciation of how much exuberant fun Joplin could be on and offstage, of her ferocious work ethic and mischievous spirit.\u003c/p>\n\u003cp>Joplin also never hid her ravenous hunger to be loved. Distilled through her own testimony (narrated by singer-songwriter Cat Power) and that of an army of family and friends, boyfriends (and one astute former girlfriend who has Joplin’s number on many fronts), music business chieftains and bit players, \u003cem>Janis \u003c/em>builds a properly inconsistent portrait of a woman of many parts she was never able to reconcile.\u003c/p>\n\u003cp>That was both her triumph and her tragedy from the moment when, as an awkward teenager in the small Texas town of Port Arthur, she escaped from neglect and abuse by her peers into the blues and folk music that bubbled below the radar of saccharine early ’60s pop. That these were not happy years is well known, and rocker biographies can be glib about attributing their subjects’ suffering to dysfunctional families. People are always more mysterious than what their parents did or didn’t do to them, and Berg treads carefully here, avoiding speculation about Joplin’s parents. They remain mostly loving but shadowy, conventional figures, bewildered by a daughter who wrote them poignant letters apologizing for being such a disappointment to them. Evidently it didn’t help much: Berg unearths a letter from Janis’ father well into her superstardom, inquiring whether he should cancel her pending college registration.\u003c/p>\n\u003cp>Joplin’s sister Laura bears sympathetic witness to the acne and fluctuating weight and the broad, flat features that were an endless source of anguish for Janis, who for while wanted nothing more than to fit in among the athletes and cheerleaders who scorned or ignored her. Does Berg exaggerate the causal reach of the bullying that Joplin endured at school into her lifelong insecurity? Perhaps, if only because most high schools are littered with put-upon square pegs who grow into perfectly upstanding but ordinary citizens.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Certainly Joplin always had enormous difficulty maintaining emotional boundaries. But if she was a needy love addict who, one friend says, “needed stroking all the time,” she was also a precocious innovator who greedily soaked up the music of Odetta and her idol Bob Dylan long before she found her way to the San Francisco counterculture, threw in her lot with the band Big Brother and the Holding Company, and leaped to stardom at the Monterey pop festival.\u003c/p>\n\u003cp>The hippie moment suited and shaped Joplin’s funky, anything-goes look, her impish spontaneity, the extravagant emotional openness that gave her a direct conduit to audiences craving immediate experience. By her own admission she was more one of the boys than she was a feminist, and according to recollections in the film, some in the women’s movement at the time were made uncomfortable by her frankly fluid sexuality. I’m willing to bet, though, that she would have rejoiced at the gratifyingly long list of female performers — among them Melissa Etheridge, Pink, and Juliette Lewis — who go on camera to acknowledge Joplin’s influence. To say nothing of the women who screamed their gratitude when, with rainbow boas flowing out from her curtain of hair, she belted out her pain and theirs. In that moment, there was no difference; that was her gift.\u003c/p>\n\u003cp>Friends and former lovers testify that Joplin feared heroin and hated being an addict. But even after she apparently found the love of her life in David, a good-hearted teacher whom Berg tracked down in Hawaii, she couldn’t stop herself. By the time she took the stage at Woodstock, she was pretty much a wreck, but a wreck who could still enrapture any crowd with a cover of \u003cem>Summertime\u003c/em> or \u003cem>Bobby McGee\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Joplin embodied the best and worst of the counterculture. She was a double-edged sword who, notwithstanding the likable but domesticated 1979 film \u003cem>The Rose \u003c/em>that starred Bette Midler as a fictionalized riff on Joplin, added up to way more than a little girl lost. \u003cem>Janis\u003c/em> pays tribute to the whole woman — the one who, had she lived to see her own impish song ripped off in a 1997 ad for Mercedes Benz — would either have demanded royalties, or sat down and tossed off another rude parody. Probably both. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Janis%3A+Little+Girl+Blue%27+Goes+Beyond+Cliches+Of+A+Sad+Childhood&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Amy Berg's new documentary talks to friends and lovers of the iconic singer to say more about her complicated life than what's been said in many rock-star docs.",
"status": "publish",
"parent": 0,
"modified": 1726705297,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 955
},
"headData": {
"title": "'Janis: Little Girl Blue' Goes Beyond Cliches Of A Sad Childhood | KQED",
"description": "Amy Berg's new documentary talks to friends and lovers of the iconic singer to say more about her complicated life than what's been said in many rock-star docs.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Janis: Little Girl Blue' Goes Beyond Cliches Of A Sad Childhood",
"datePublished": "2015-12-04T08:00:54-08:00",
"dateModified": "2024-09-18T17:21:37-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Jan Persson",
"nprByline": "Ella Taylor",
"nprImageAgency": "Courtesy of Getty Images",
"nprStoryId": "457131234",
"nprApiLink": "http://api.npr.org/query?id=457131234&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2015/11/25/457131234/janis-little-girl-blue-goes-beyond-cliches-of-a-sad-childhood?ft=nprml&f=457131234",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 27 Nov 2015 14:13:00 -0500",
"nprStoryDate": "Wed, 25 Nov 2015 17:04:00 -0500",
"nprLastModifiedDate": "Fri, 27 Nov 2015 14:13:18 -0500",
"path": "/arts/11132961/janis-little-girl-blue-goes-beyond-cliches-of-a-sad-childhood",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rocker docs lie thick on the ground these days, most of them landlocked in a tired arc of childhood stress, rapid rise to stardom filled with drugs and debauchery, followed by decline and, for those who survive, extravagant rue-ing the day. And given the short, sharp life of Janis Joplin, any account of her has to spend time in that terrain. But though \u003cem>Janis: Little Girl Blue\u003c/em> — Amy J. Berg’s loving, exhaustively researched documentary about the whiskey-voiced blues interpreter — gives Joplin’s dark side its due, the film rarely succumbs to mawkish wallowing.\u003c/p>\n\u003cp>Berg is an honestly partisan filmmaker of social-issue documentaries (\u003cem>Deliver Us from Evil\u003c/em> and \u003cem>West of Memphis\u003c/em>); \u003cem>Janis\u003c/em> has an analytical edge, but it’s also a celebration that refuses to bog down Joplin in her sad adolescence, her troubles with love, or the booze and heroin habit that brought about her lonely 1971 death in a motel at age 27. Given that Joplin was an open book both on and offstage, a case could be made for letting rip with a pure concert movie. There’s plenty of wonderfully wild onstage footage and charming, behind-the-scenes goofing around here, and the movie is a fan’s appreciation of how much exuberant fun Joplin could be on and offstage, of her ferocious work ethic and mischievous spirit.\u003c/p>\n\u003cp>Joplin also never hid her ravenous hunger to be loved. Distilled through her own testimony (narrated by singer-songwriter Cat Power) and that of an army of family and friends, boyfriends (and one astute former girlfriend who has Joplin’s number on many fronts), music business chieftains and bit players, \u003cem>Janis \u003c/em>builds a properly inconsistent portrait of a woman of many parts she was never able to reconcile.\u003c/p>\n\u003cp>That was both her triumph and her tragedy from the moment when, as an awkward teenager in the small Texas town of Port Arthur, she escaped from neglect and abuse by her peers into the blues and folk music that bubbled below the radar of saccharine early ’60s pop. That these were not happy years is well known, and rocker biographies can be glib about attributing their subjects’ suffering to dysfunctional families. People are always more mysterious than what their parents did or didn’t do to them, and Berg treads carefully here, avoiding speculation about Joplin’s parents. They remain mostly loving but shadowy, conventional figures, bewildered by a daughter who wrote them poignant letters apologizing for being such a disappointment to them. Evidently it didn’t help much: Berg unearths a letter from Janis’ father well into her superstardom, inquiring whether he should cancel her pending college registration.\u003c/p>\n\u003cp>Joplin’s sister Laura bears sympathetic witness to the acne and fluctuating weight and the broad, flat features that were an endless source of anguish for Janis, who for while wanted nothing more than to fit in among the athletes and cheerleaders who scorned or ignored her. Does Berg exaggerate the causal reach of the bullying that Joplin endured at school into her lifelong insecurity? Perhaps, if only because most high schools are littered with put-upon square pegs who grow into perfectly upstanding but ordinary citizens.\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>Certainly Joplin always had enormous difficulty maintaining emotional boundaries. But if she was a needy love addict who, one friend says, “needed stroking all the time,” she was also a precocious innovator who greedily soaked up the music of Odetta and her idol Bob Dylan long before she found her way to the San Francisco counterculture, threw in her lot with the band Big Brother and the Holding Company, and leaped to stardom at the Monterey pop festival.\u003c/p>\n\u003cp>The hippie moment suited and shaped Joplin’s funky, anything-goes look, her impish spontaneity, the extravagant emotional openness that gave her a direct conduit to audiences craving immediate experience. By her own admission she was more one of the boys than she was a feminist, and according to recollections in the film, some in the women’s movement at the time were made uncomfortable by her frankly fluid sexuality. I’m willing to bet, though, that she would have rejoiced at the gratifyingly long list of female performers — among them Melissa Etheridge, Pink, and Juliette Lewis — who go on camera to acknowledge Joplin’s influence. To say nothing of the women who screamed their gratitude when, with rainbow boas flowing out from her curtain of hair, she belted out her pain and theirs. In that moment, there was no difference; that was her gift.\u003c/p>\n\u003cp>Friends and former lovers testify that Joplin feared heroin and hated being an addict. But even after she apparently found the love of her life in David, a good-hearted teacher whom Berg tracked down in Hawaii, she couldn’t stop herself. By the time she took the stage at Woodstock, she was pretty much a wreck, but a wreck who could still enrapture any crowd with a cover of \u003cem>Summertime\u003c/em> or \u003cem>Bobby McGee\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Joplin embodied the best and worst of the counterculture. She was a double-edged sword who, notwithstanding the likable but domesticated 1979 film \u003cem>The Rose \u003c/em>that starred Bette Midler as a fictionalized riff on Joplin, added up to way more than a little girl lost. \u003cem>Janis\u003c/em> pays tribute to the whole woman — the one who, had she lived to see her own impish song ripped off in a 1997 ad for Mercedes Benz — would either have demanded royalties, or sat down and tossed off another rude parody. Probably both. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Janis%3A+Little+Girl+Blue%27+Goes+Beyond+Cliches+Of+A+Sad+Childhood&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11132961/janis-little-girl-blue-goes-beyond-cliches-of-a-sad-childhood",
"authors": [
"byline_arts_11132961"
],
"categories": [
"arts_74",
"arts_69"
],
"tags": [
"arts_1425",
"arts_596",
"arts_769"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11132965",
"label": "arts_137"
},
"arts_11132967": {
"type": "posts",
"id": "arts_11132967",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11132967",
"score": null,
"sort": [
1449212708000
]
},
"guestAuthors": [],
"slug": "scott-weiland-iconic-rock-singer-and-bay-area-native-dead-at-48",
"title": "Scott Weiland, Iconic Rock Singer and Bay Area Native, Dead at 48",
"publishDate": 1449212708,
"format": "standard",
"headTitle": "Scott Weiland, Iconic Rock Singer and Bay Area Native, Dead at 48 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cb>UPDATED:\u003c/b> Dec. 4, 1:16pm\u003c/p>\n\u003cp>Scott Weiland, the rock singer known around the world for his work with Stone Temple Pilots and Velvet Revolver, died Thursday night. He was 48.\u003c/p>\n\u003cp>Described by \u003ci>Rolling Stone\u003c/i> as having a “\u003ca href=\"http://www.rollingstone.com/music/news/scott-weiland-dead-at-48-20151204\" target=\"_blank\" rel=\"noopener\">instantly recognizable, iconic voice\u003c/a>,” Weiland apparently died in his sleep. He was found dead on his tour bus while his band the Wildabouts were stopped in Bloomington, Minn., according to his \u003ca href=\"https://www.facebook.com/ScottWeiland/photos/a.10150137794170685.284420.7752565684/10153146077925685/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>. \u003c/p>\n\u003cp>Weiland was born Richard Scott Kline on Oct. 27, 1967 in San Jose, Calif. His parents divorced two years later. His mother then married David Weiland, who adopted Scott and gave him a new last name.\u003c/p>\n\u003cp>Weiland would co-found Stone Temple Pilots in 1986 in Southern California, going on to rule alternative radio in the ’90s with songs such as “Plush,” “Vaseline” and “Creep.” After breaking with the band in 2002, Weiland formed Velvet Revolver with former members of Guns ‘n’ Roses. He would play and record with Velvet Revolver until their breakup in 2008. Between the years of 2008 and 2012, Weiland would reunite with both groups, while also releasing albums under his own name, including a Christmas album titled \u003ci>The Most Wonderful Time of the Year.\u003c/i> \u003ci>Blaster,\u003c/i> his first album with the Wildabouts, was released earlier this year; he was scheduled to perform with the band Dec. 19 in Napa.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though there have been no verified reports on the cause of death — those details are expected to be released Friday — Weiland had a long, \u003ca href=\"http://www.blabbermouth.net/news/velvet-revolver-singer-says-family-life-has-kept-him-off-drugs/\" target=\"_blank\" rel=\"noopener\">public battle with drug addiction\u003c/a>, beginning with his arrest for buying crack cocaine in 1995. \u003c/p>\n\u003cp>\u003ci>Update:\u003c/i> \u003ci>Rolling Stone\u003c/i> reports that after responding to his death, police found a small quantity of \u003ca href=\"http://www.rollingstone.com/music/news/scott-weilands-bus-bedroom-contained-cocaine-police-20151204\" target=\"_blank\" rel=\"noopener\">cocaine in Weiland’s room\u003c/a> on the Wildabouts tour bus. Further searches led to the discovery of more cocaine in the room of Wildabouts bassist Tommy Black, 47, who was arrested for possession of the controlled substance. \u003c/p>\n\u003cp>Also, Weiland’s former band the Stone Temple Pilots have released a statement on their Facebook page:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.facebook.com/stpband/posts/10153636913457906 \u003c/p>\n\n",
"blocks": [],
"excerpt": "The iconic rock singer was known for his voice and his long battle with drug addiction.",
"status": "publish",
"parent": 0,
"modified": 1726763889,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 356
},
"headData": {
"title": "Scott Weiland, Iconic Rock Singer and Bay Area Native, Dead at 48 | KQED",
"description": "The iconic rock singer was known for his voice and his long battle with drug addiction.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Scott Weiland, Iconic Rock Singer and Bay Area Native, Dead at 48",
"datePublished": "2015-12-03T23:05:08-08:00",
"dateModified": "2024-09-19T09:38:09-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11132967/scott-weiland-iconic-rock-singer-and-bay-area-native-dead-at-48",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATED:\u003c/b> Dec. 4, 1:16pm\u003c/p>\n\u003cp>Scott Weiland, the rock singer known around the world for his work with Stone Temple Pilots and Velvet Revolver, died Thursday night. He was 48.\u003c/p>\n\u003cp>Described by \u003ci>Rolling Stone\u003c/i> as having a “\u003ca href=\"http://www.rollingstone.com/music/news/scott-weiland-dead-at-48-20151204\" target=\"_blank\" rel=\"noopener\">instantly recognizable, iconic voice\u003c/a>,” Weiland apparently died in his sleep. He was found dead on his tour bus while his band the Wildabouts were stopped in Bloomington, Minn., according to his \u003ca href=\"https://www.facebook.com/ScottWeiland/photos/a.10150137794170685.284420.7752565684/10153146077925685/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>. \u003c/p>\n\u003cp>Weiland was born Richard Scott Kline on Oct. 27, 1967 in San Jose, Calif. His parents divorced two years later. His mother then married David Weiland, who adopted Scott and gave him a new last name.\u003c/p>\n\u003cp>Weiland would co-found Stone Temple Pilots in 1986 in Southern California, going on to rule alternative radio in the ’90s with songs such as “Plush,” “Vaseline” and “Creep.” After breaking with the band in 2002, Weiland formed Velvet Revolver with former members of Guns ‘n’ Roses. He would play and record with Velvet Revolver until their breakup in 2008. Between the years of 2008 and 2012, Weiland would reunite with both groups, while also releasing albums under his own name, including a Christmas album titled \u003ci>The Most Wonderful Time of the Year.\u003c/i> \u003ci>Blaster,\u003c/i> his first album with the Wildabouts, was released earlier this year; he was scheduled to perform with the band Dec. 19 in Napa.\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>Though there have been no verified reports on the cause of death — those details are expected to be released Friday — Weiland had a long, \u003ca href=\"http://www.blabbermouth.net/news/velvet-revolver-singer-says-family-life-has-kept-him-off-drugs/\" target=\"_blank\" rel=\"noopener\">public battle with drug addiction\u003c/a>, beginning with his arrest for buying crack cocaine in 1995. \u003c/p>\n\u003cp>\u003ci>Update:\u003c/i> \u003ci>Rolling Stone\u003c/i> reports that after responding to his death, police found a small quantity of \u003ca href=\"http://www.rollingstone.com/music/news/scott-weilands-bus-bedroom-contained-cocaine-police-20151204\" target=\"_blank\" rel=\"noopener\">cocaine in Weiland’s room\u003c/a> on the Wildabouts tour bus. Further searches led to the discovery of more cocaine in the room of Wildabouts bassist Tommy Black, 47, who was arrested for possession of the controlled substance. \u003c/p>\n\u003cp>Also, Weiland’s former band the Stone Temple Pilots have released a statement on their Facebook page:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.facebook.com/stpband/posts/10153636913457906 \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11132967/scott-weiland-iconic-rock-singer-and-bay-area-native-dead-at-48",
"authors": [
"93"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1091"
],
"featImg": "arts_11133092",
"label": "arts"
},
"pop_19275": {
"type": "posts",
"id": "pop_19275",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "19275",
"score": null,
"sort": [
1449162050000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1449162050,
"format": "standard",
"disqusTitle": "Wanna Buy a Drum Kit From Ringo Starr?",
"title": "Wanna Buy a Drum Kit From Ringo Starr?",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Yep, you read that right. \u003cdel>Everyone's favorite\u003c/del> Many people's third- or fourth-favorite Beatle is having a yard sale, and we're all invited!\u003cstrong>*\u003c/strong>\u003c/p>\n\u003cp>More accurately: Those with piles of cash lying around and an abiding love for British Invasion memorabilia should consider checking out an auction taking place Dec. 3 - 5 in Beverly Hills, in which \u003ca href=\"http://www.latimes.com/entertainment/music/posts/la-et-ms-ringo-starr-beatles-auction-juliens-charity-20151202-story.html\" target=\"_blank\">Ringo Starr and his wife, actress Barbara Bach, will unload a veritable trove of Beatlemaniac treasure\u003c/a>.\u003c/p>\n\u003cp>Up for grabs are more than 1200 items, including the \u003ca href=\"http://www.julienslive.com/view-auctions/catalog/id/163/lot/70811/?url=%2Fview-auctions%2Fcatalog%2Fid%2F163%2F%3Fpage%3D1%26key%3Ddrums%26cat%3D%26xclosed%3Dno%26items%3D100\" target=\"_blank\">three-piece drum kit\u003c/a> Starr used in live performances from May 1963 to February 1964, as well as on the studio recordings of \"Can't Buy Me Love,\" \"I Want to Hold Your Hand,\" \"She Loves You,\" and other Beatles classics. (You'll need a cool $300,000 - $500,000 to take that one home.) A\u003ca href=\"http://www.julienslive.com/view-auctions/catalog/id/163/lot/71339/?url=%2Fview-auctions%2Fcatalog%2Fid%2F163%2F%3Fpage%3D1%26key%3Dguitar%26cat%3D%26xclosed%3Dno%26items%3D100\" target=\"_blank\"> guitar Starr gave George Harrison as a gift\u003c/a> is listed at $100,000 - $200,000, while one John Lennon used in 1964 and '65 comes in at $600,000 - $800,000.\u003c/p>\n\u003cp>Also of note: The drummer's own original copy of the White Album -- the first off the production line -- which has been in a bank vault for 35 years. Appraisers expect that one to hit $200,000 at the very least, meaning it will break standing auction records for vinyl.\u003c/p>\n\u003cp>In the more affordable range: A bunch of Bach's jewelry, and accessories like \u003ca href=\"http://www.julienslive.com/view-auctions/catalog/id/163/lot/70190/?url=%2Fview-auctions%2Fcatalog%2Fid%2F163%2F%3Fpage%3D3\" target=\"_blank\">this throw pillow\u003c/a>. No matter how much you have (or haven't) to spend, you can feel good about your purchase: Funds will go to the couple's \u003ca href=\"http://www.ringostarrart.com/the-lotus-foundation/\" target=\"_blank\">Lotus Foundation\u003c/a>, which directs money toward causes ranging from homeless and substance abuse to cerebral palsy research.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>*Before you jump down my throat: Ringo Starr is great and I firmly believe he's underrated. He might even be my second-favorite Beatle. I didn't grow up watching \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0098910/\" target=\"_blank\">Shining Time Station\u003c/a>\u003c/em> for nothing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"disqusIdentifier": "19275 http://ww2.kqed.org/pop/?p=19275",
"disqusUrl": "https://ww2.kqed.org/pop/2015/12/03/wanna-buy-a-drum-kit-from-ringo-starr/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 332,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1449124182,
"excerpt": "The former Beatle's auction also includes the first pressing of the White Album and guitars used by John Lennon and George Harrison. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The former Beatle's auction also includes the first pressing of the White Album and guitars used by John Lennon and George Harrison. ",
"title": "Wanna Buy a Drum Kit From Ringo Starr? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Wanna Buy a Drum Kit From Ringo Starr?",
"datePublished": "2015-12-03T09:00:50-08:00",
"dateModified": "2015-12-02T22:29:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "wanna-buy-a-drum-kit-from-ringo-starr",
"status": "publish",
"path": "/pop/19275/wanna-buy-a-drum-kit-from-ringo-starr",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yep, you read that right. \u003cdel>Everyone's favorite\u003c/del> Many people's third- or fourth-favorite Beatle is having a yard sale, and we're all invited!\u003cstrong>*\u003c/strong>\u003c/p>\n\u003cp>More accurately: Those with piles of cash lying around and an abiding love for British Invasion memorabilia should consider checking out an auction taking place Dec. 3 - 5 in Beverly Hills, in which \u003ca href=\"http://www.latimes.com/entertainment/music/posts/la-et-ms-ringo-starr-beatles-auction-juliens-charity-20151202-story.html\" target=\"_blank\">Ringo Starr and his wife, actress Barbara Bach, will unload a veritable trove of Beatlemaniac treasure\u003c/a>.\u003c/p>\n\u003cp>Up for grabs are more than 1200 items, including the \u003ca href=\"http://www.julienslive.com/view-auctions/catalog/id/163/lot/70811/?url=%2Fview-auctions%2Fcatalog%2Fid%2F163%2F%3Fpage%3D1%26key%3Ddrums%26cat%3D%26xclosed%3Dno%26items%3D100\" target=\"_blank\">three-piece drum kit\u003c/a> Starr used in live performances from May 1963 to February 1964, as well as on the studio recordings of \"Can't Buy Me Love,\" \"I Want to Hold Your Hand,\" \"She Loves You,\" and other Beatles classics. (You'll need a cool $300,000 - $500,000 to take that one home.) A\u003ca href=\"http://www.julienslive.com/view-auctions/catalog/id/163/lot/71339/?url=%2Fview-auctions%2Fcatalog%2Fid%2F163%2F%3Fpage%3D1%26key%3Dguitar%26cat%3D%26xclosed%3Dno%26items%3D100\" target=\"_blank\"> guitar Starr gave George Harrison as a gift\u003c/a> is listed at $100,000 - $200,000, while one John Lennon used in 1964 and '65 comes in at $600,000 - $800,000.\u003c/p>\n\u003cp>Also of note: The drummer's own original copy of the White Album -- the first off the production line -- which has been in a bank vault for 35 years. Appraisers expect that one to hit $200,000 at the very least, meaning it will break standing auction records for vinyl.\u003c/p>\n\u003cp>In the more affordable range: A bunch of Bach's jewelry, and accessories like \u003ca href=\"http://www.julienslive.com/view-auctions/catalog/id/163/lot/70190/?url=%2Fview-auctions%2Fcatalog%2Fid%2F163%2F%3Fpage%3D3\" target=\"_blank\">this throw pillow\u003c/a>. No matter how much you have (or haven't) to spend, you can feel good about your purchase: Funds will go to the couple's \u003ca href=\"http://www.ringostarrart.com/the-lotus-foundation/\" target=\"_blank\">Lotus Foundation\u003c/a>, which directs money toward causes ranging from homeless and substance abuse to cerebral palsy research.\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>*Before you jump down my throat: Ringo Starr is great and I firmly believe he's underrated. He might even be my second-favorite Beatle. I didn't grow up watching \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0098910/\" target=\"_blank\">Shining Time Station\u003c/a>\u003c/em> for nothing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/19275/wanna-buy-a-drum-kit-from-ringo-starr",
"authors": [
"7237"
],
"categories": [
"pop_7",
"pop_4"
],
"featImg": "pop_19286",
"label": "pop"
},
"arts_11129161": {
"type": "posts",
"id": "arts_11129161",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11129161",
"score": null,
"sort": [
1449111630000
]
},
"guestAuthors": [],
"slug": "together-in-electric-dreams-this-weeks-top-live-music-picks",
"title": "Together in Electric Dreams: This Week's Top Live Music Picks",
"publishDate": 1449111630,
"format": "standard",
"headTitle": "Together in Electric Dreams: This Week’s Top Live Music Picks | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>OK, folks, time for a quick episode of “Telling Tales Out of Church:” In the early aughts, my best friend lived in L.A., and one night casually told me that his roommate was dating none other than Giorgio Moroder. After I flipped out and expressed my enthusiasm for Moroder’s work, said friend confided that apparently, the electronic pioneer had been feeling depressed about his career and the looming notion that his innovations to music weren’t widely recognized. (In 2003, this was true.)\u003c/p>\n\u003cfigure id=\"attachment_11129426\" class=\"wp-caption alignright\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_De%CC%81ja%CC%80_Vu.jpg\" alt=\"'Deja Vu,' the new album from Giorgio Moroder.\" width=\"522\" height=\"522\" class=\"size-full wp-image-11129426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-75x75.jpg 75w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">‘Deja Vu,’ the new album from Giorgio Moroder.\u003c/figcaption>\u003c/figure>\n\u003cp>Fast-forward to 2015, and Moroder has little reason to mope — he’s since been elevated as a demigod of his field, one who blazed the trail for nearly every techno and house producer to follow. In perhaps the height of modern honor, he appeared on Daft Punk’s number-one selling \u003cem>Random Access Memories\u003c/em> as a collaborator and in a (frankly bizarre!) extended interview about his work, smack-dab in the middle of the album.\u003c/p>\n\u003cp>He’s also got a new release himself, \u003cem>Deja Vu\u003c/em>, and his DJ set this weekend is sure to attract those enamored of his ’70s productions (“\u003ca href=\"https://www.youtube.com/watch?v=JhKqs7dUMa8\" target=\"_blank\" rel=\"noopener\">I Feel Love\u003c/a>“), his ’80s film scores (\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=9A92IRgyPVM\" target=\"_blank\" rel=\"noopener\">Electric Dreams\u003c/a>\u003c/em>), his ’90s samples (DJ Shadow’s “\u003ca href=\"http://www.whosampled.com/sample/1127/DJ-Shadow-Organ-Donor-Giorgio-Moroder-Tears/\" target=\"_blank\" rel=\"noopener\">Organ Donor\u003c/a>“) and beyond. \u003ca href=\"http://1015.com/events/12-04-2015/giorgio-moroder/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>, and don’t miss his \u003ca href=\"http://www.amoeba.com/live-shows/upcoming/detail-3522/\" target=\"_blank\" rel=\"noopener\">in-person signing the next day at Amoeba\u003c/a>.\u003c/p>\n\u003cp>And if a mustachioed Italian disco producer isn’t your thing? Never fear — there are more top live music picks below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0zhHnf-yTng\u003c/p>\n\u003cfigure id=\"attachment_11129421\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/HeronOblivion.jpg\" alt=\"Heron Oblivion.\" width=\"600\" height=\"337\" class=\"size-full wp-image-11129421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/HeronOblivion.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/HeronOblivion-400x225.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Heron Oblivion.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Dec. 4: Heron Oblivion at the Conservatory of Flowers\u003c/strong>. It’s been 10 years since I last visited the Conservatory of Flowers, when the infamous “corpse flower” had just started to bloom. Standing in a long line of visitors, in 2005, I chatted with with other visitors who, like me, had attended the Conservatory as children on field trips — and then never bothered to return. At the Conservatory this week, another special event beckons older visitors: an indie-rock show. Following the lead of the Academy of Sciences and their \u003ca href=\"http://www.calacademy.org/nightlife\" target=\"_blank\" rel=\"noopener\">NightLife\u003c/a> series featuring live bands, the Conservatory hosts the bands Extra Classic and Heron Oblivion performing among the stamens and pistils. It’s an entirely unique atmosphere for a show, and presumably, the band members smell better than the dreaded \u003cem>\u003ca href=\"http://www.conservatoryofflowers.org/press/052705\" target=\"_blank\" rel=\"noopener\">Amorphophallus titanum\u003c/a>\u003c/em>. \u003ca href=\"http://www.conservatoryofflowers.org/special-events/after-hours-conservatory-heron-oblivionextra-classic\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129422\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/JelloBiafra.jpg\" alt=\"Jello Biafra and the Guantanamo School of Medicine.\" width=\"600\" height=\"400\" class=\"size-full wp-image-11129422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/JelloBiafra.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/JelloBiafra-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jello Biafra and the Guantanamo School of Medicine.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Dec. 5: Jello Biafra and the Guantanamo School of Medicine at Slim’s\u003c/strong>. Every time I came across the slate of challengers to Ed Lee in this year’s mayoral election, I couldn’t help but think how polite and staid they appeared compared to the joyous memory of \u003ca href=\"https://youtu.be/mJy_pT78fTU?t=54s\" target=\"_blank\" rel=\"noopener\">Jello Biafra’s 1979 mayoral candidacy\u003c/a>. Running on a platform that included — among other things — auctioning off city positions on the steps of City Hall and forcing all businessmen to wear clown suits, the Dead Kennedys frontman actually managed a fourth-place showing. As provocative as ever, Biafra is a local treasure who still has a rapier sense of satire. \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12964\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129424\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/EzraFurman.jpg\" alt=\"Ezra Furman.\" width=\"600\" height=\"357\" class=\"size-full wp-image-11129424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EzraFurman.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EzraFurman-400x238.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ezra Furman.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Dec. 5: Ezra Furman at the Arlene Francis Center\u003c/strong>. A former punk kid who discovered Bob Dylan and Paul Westerberg and started writing songs of his own, Ezra Furman peddles in a catchy combination of urgency and confession. The Chicagoan channels Rufus-Wainwright-as-produced-by-Phil-Spector on songs like “\u003ca href=\"https://www.youtube.com/watch?v=fvfI6Q5WFT0\" target=\"_blank\" rel=\"noopener\">Lousy Connection\u003c/a>,” and then breaks your heart on revealing songs about anxiety and depression like “Walk on in Darkness” and “I Wanna Destroy Myself.” Captivating and honest, Furman is — and hopefully always will be — a teenager at heart. His show in Santa Rosa, in a former flour mill, should be a nicely intimate affair. \u003ca href=\"https://www.facebook.com/events/1678964005683687/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>, and those in SF can see him \u003ca href=\"http://www.rickshawstop.com/event/941343-ezra-furman-boy-friends-san-francisco/\" target=\"_blank\" rel=\"noopener\">the next night at the Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129428\" class=\"wp-caption alignright\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kendrick-Scott-1_626x350.jpg\" alt=\"Kendrick Scott.\" width=\"626\" height=\"350\" class=\"size-full wp-image-11129428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-Scott-1_626x350.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-Scott-1_626x350-400x224.jpg 400w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Scott.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Dec. 5: Kendrick Scott Oracle at SFJAZZ\u003c/strong>. In the Bay Area, we have Berkeley High and its world-renowned jazz program; in Houston, there’s the Houston High School for the Performing Arts, which has produced such jazz luminaries as Eric Harland, Robert Glasper and Jason Moran. Drummer Kendrick Scott comes from the same school, and possesses the same imaginative talent, as evidenced on his latest album \u003cem>We are the Drum\u003c/em>. His band at SFJAZZ this week also includes pianist Taylor Eigsti, a headliner in his own right who’s outgrown his young-prodigy status to become a thrilling player. Scott’s group plays two shows in the small Joe Henderson Lab; \u003ca href=\"http://www.sfjazz.org/events/2015-16/1205/kendrick-scott\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129427\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/articlehero_john_santos_0.jpg\" alt=\"John Santos.\" width=\"640\" height=\"345\" class=\"size-full wp-image-11129427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/articlehero_john_santos_0.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/articlehero_john_santos_0-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Santos.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sunday, Dec. 6: Encuentro del Campo Popular at the Chapel\u003c/strong>. Now in its 34th year, this celebration of Latino music and culture builds on the recent U.S. agreement with Cuba for a lineup of Caribbean flavor. Musical acts include the John Santos Sextet with guest Roberto Hernandez, La Mecánica Popular, and the 10-piece group Soltrón SF. DJ Leydis spins between sets. \u003ca href=\"http://www.thechapelsf.com/event/1016143-34th-annual-encuentro-del-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129425\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KFlay.jpg\" alt=\"K. Flay.\" width=\"600\" height=\"399\" class=\"size-full wp-image-11129425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KFlay.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KFlay-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Monday, Dec. 7: K. Flay at the Ritz\u003c/strong>. After graduating from Stanford in 2007, Kristine Flaherty rode a familiar music-industry roller coaster. She got picked up by RCA in a major-label deal, was summarily dropped, started a crowdfunding campaign for her debut album \u003cem>Life as a Dog\u003c/em>, and successfully parlayed grassroots support into opening for the likes of Snoop Dogg and Passion Pit. She makes a hometown stop in San Jose in the middle of a buzzed-about world tour — the ultimate revenge. \u003ca href=\"http://www.ticketfly.com/event/1005069-kflay-san-jose/?utm_medium=459899\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "This week's must-see shows include electronic pioneer Giorgio Moroder, jazz luminary Kendrick Scott, gender-fluid songwriter Ezra Furman and more.",
"status": "publish",
"parent": 0,
"modified": 1726704376,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 962
},
"headData": {
"title": "Together in Electric Dreams: This Week's Top Live Music Picks | KQED",
"description": "This week's must-see shows include electronic pioneer Giorgio Moroder, jazz luminary Kendrick Scott, gender-fluid songwriter Ezra Furman and more.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Together in Electric Dreams: This Week's Top Live Music Picks",
"datePublished": "2015-12-02T19:00:30-08:00",
"dateModified": "2024-09-18T17:06:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11129161/together-in-electric-dreams-this-weeks-top-live-music-picks",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>OK, folks, time for a quick episode of “Telling Tales Out of Church:” In the early aughts, my best friend lived in L.A., and one night casually told me that his roommate was dating none other than Giorgio Moroder. After I flipped out and expressed my enthusiasm for Moroder’s work, said friend confided that apparently, the electronic pioneer had been feeling depressed about his career and the looming notion that his innovations to music weren’t widely recognized. (In 2003, this was true.)\u003c/p>\n\u003cfigure id=\"attachment_11129426\" class=\"wp-caption alignright\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_De%CC%81ja%CC%80_Vu.jpg\" alt=\"'Deja Vu,' the new album from Giorgio Moroder.\" width=\"522\" height=\"522\" class=\"size-full wp-image-11129426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Giorgio_Moroder_-_Déjà_Vu-75x75.jpg 75w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">‘Deja Vu,’ the new album from Giorgio Moroder.\u003c/figcaption>\u003c/figure>\n\u003cp>Fast-forward to 2015, and Moroder has little reason to mope — he’s since been elevated as a demigod of his field, one who blazed the trail for nearly every techno and house producer to follow. In perhaps the height of modern honor, he appeared on Daft Punk’s number-one selling \u003cem>Random Access Memories\u003c/em> as a collaborator and in a (frankly bizarre!) extended interview about his work, smack-dab in the middle of the album.\u003c/p>\n\u003cp>He’s also got a new release himself, \u003cem>Deja Vu\u003c/em>, and his DJ set this weekend is sure to attract those enamored of his ’70s productions (“\u003ca href=\"https://www.youtube.com/watch?v=JhKqs7dUMa8\" target=\"_blank\" rel=\"noopener\">I Feel Love\u003c/a>“), his ’80s film scores (\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=9A92IRgyPVM\" target=\"_blank\" rel=\"noopener\">Electric Dreams\u003c/a>\u003c/em>), his ’90s samples (DJ Shadow’s “\u003ca href=\"http://www.whosampled.com/sample/1127/DJ-Shadow-Organ-Donor-Giorgio-Moroder-Tears/\" target=\"_blank\" rel=\"noopener\">Organ Donor\u003c/a>“) and beyond. \u003ca href=\"http://1015.com/events/12-04-2015/giorgio-moroder/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>, and don’t miss his \u003ca href=\"http://www.amoeba.com/live-shows/upcoming/detail-3522/\" target=\"_blank\" rel=\"noopener\">in-person signing the next day at Amoeba\u003c/a>.\u003c/p>\n\u003cp>And if a mustachioed Italian disco producer isn’t your thing? Never fear — there are more top live music picks below.\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/0zhHnf-yTng'\n title='//www.youtube.com/embed/0zhHnf-yTng'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure id=\"attachment_11129421\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/HeronOblivion.jpg\" alt=\"Heron Oblivion.\" width=\"600\" height=\"337\" class=\"size-full wp-image-11129421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/HeronOblivion.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/HeronOblivion-400x225.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Heron Oblivion.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Dec. 4: Heron Oblivion at the Conservatory of Flowers\u003c/strong>. It’s been 10 years since I last visited the Conservatory of Flowers, when the infamous “corpse flower” had just started to bloom. Standing in a long line of visitors, in 2005, I chatted with with other visitors who, like me, had attended the Conservatory as children on field trips — and then never bothered to return. At the Conservatory this week, another special event beckons older visitors: an indie-rock show. Following the lead of the Academy of Sciences and their \u003ca href=\"http://www.calacademy.org/nightlife\" target=\"_blank\" rel=\"noopener\">NightLife\u003c/a> series featuring live bands, the Conservatory hosts the bands Extra Classic and Heron Oblivion performing among the stamens and pistils. It’s an entirely unique atmosphere for a show, and presumably, the band members smell better than the dreaded \u003cem>\u003ca href=\"http://www.conservatoryofflowers.org/press/052705\" target=\"_blank\" rel=\"noopener\">Amorphophallus titanum\u003c/a>\u003c/em>. \u003ca href=\"http://www.conservatoryofflowers.org/special-events/after-hours-conservatory-heron-oblivionextra-classic\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129422\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/JelloBiafra.jpg\" alt=\"Jello Biafra and the Guantanamo School of Medicine.\" width=\"600\" height=\"400\" class=\"size-full wp-image-11129422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/JelloBiafra.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/JelloBiafra-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Jello Biafra and the Guantanamo School of Medicine.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Dec. 5: Jello Biafra and the Guantanamo School of Medicine at Slim’s\u003c/strong>. Every time I came across the slate of challengers to Ed Lee in this year’s mayoral election, I couldn’t help but think how polite and staid they appeared compared to the joyous memory of \u003ca href=\"https://youtu.be/mJy_pT78fTU?t=54s\" target=\"_blank\" rel=\"noopener\">Jello Biafra’s 1979 mayoral candidacy\u003c/a>. Running on a platform that included — among other things — auctioning off city positions on the steps of City Hall and forcing all businessmen to wear clown suits, the Dead Kennedys frontman actually managed a fourth-place showing. As provocative as ever, Biafra is a local treasure who still has a rapier sense of satire. \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=12964\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129424\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/EzraFurman.jpg\" alt=\"Ezra Furman.\" width=\"600\" height=\"357\" class=\"size-full wp-image-11129424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EzraFurman.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EzraFurman-400x238.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ezra Furman.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Dec. 5: Ezra Furman at the Arlene Francis Center\u003c/strong>. A former punk kid who discovered Bob Dylan and Paul Westerberg and started writing songs of his own, Ezra Furman peddles in a catchy combination of urgency and confession. The Chicagoan channels Rufus-Wainwright-as-produced-by-Phil-Spector on songs like “\u003ca href=\"https://www.youtube.com/watch?v=fvfI6Q5WFT0\" target=\"_blank\" rel=\"noopener\">Lousy Connection\u003c/a>,” and then breaks your heart on revealing songs about anxiety and depression like “Walk on in Darkness” and “I Wanna Destroy Myself.” Captivating and honest, Furman is — and hopefully always will be — a teenager at heart. His show in Santa Rosa, in a former flour mill, should be a nicely intimate affair. \u003ca href=\"https://www.facebook.com/events/1678964005683687/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>, and those in SF can see him \u003ca href=\"http://www.rickshawstop.com/event/941343-ezra-furman-boy-friends-san-francisco/\" target=\"_blank\" rel=\"noopener\">the next night at the Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129428\" class=\"wp-caption alignright\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kendrick-Scott-1_626x350.jpg\" alt=\"Kendrick Scott.\" width=\"626\" height=\"350\" class=\"size-full wp-image-11129428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-Scott-1_626x350.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Kendrick-Scott-1_626x350-400x224.jpg 400w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Scott.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Dec. 5: Kendrick Scott Oracle at SFJAZZ\u003c/strong>. In the Bay Area, we have Berkeley High and its world-renowned jazz program; in Houston, there’s the Houston High School for the Performing Arts, which has produced such jazz luminaries as Eric Harland, Robert Glasper and Jason Moran. Drummer Kendrick Scott comes from the same school, and possesses the same imaginative talent, as evidenced on his latest album \u003cem>We are the Drum\u003c/em>. His band at SFJAZZ this week also includes pianist Taylor Eigsti, a headliner in his own right who’s outgrown his young-prodigy status to become a thrilling player. Scott’s group plays two shows in the small Joe Henderson Lab; \u003ca href=\"http://www.sfjazz.org/events/2015-16/1205/kendrick-scott\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129427\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/articlehero_john_santos_0.jpg\" alt=\"John Santos.\" width=\"640\" height=\"345\" class=\"size-full wp-image-11129427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/articlehero_john_santos_0.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/articlehero_john_santos_0-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Santos.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sunday, Dec. 6: Encuentro del Campo Popular at the Chapel\u003c/strong>. Now in its 34th year, this celebration of Latino music and culture builds on the recent U.S. agreement with Cuba for a lineup of Caribbean flavor. Musical acts include the John Santos Sextet with guest Roberto Hernandez, La Mecánica Popular, and the 10-piece group Soltrón SF. DJ Leydis spins between sets. \u003ca href=\"http://www.thechapelsf.com/event/1016143-34th-annual-encuentro-del-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11129425\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KFlay.jpg\" alt=\"K. Flay.\" width=\"600\" height=\"399\" class=\"size-full wp-image-11129425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KFlay.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KFlay-400x266.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Monday, Dec. 7: K. Flay at the Ritz\u003c/strong>. After graduating from Stanford in 2007, Kristine Flaherty rode a familiar music-industry roller coaster. She got picked up by RCA in a major-label deal, was summarily dropped, started a crowdfunding campaign for her debut album \u003cem>Life as a Dog\u003c/em>, and successfully parlayed grassroots support into opening for the likes of Snoop Dogg and Passion Pit. She makes a hometown stop in San Jose in the middle of a buzzed-about world tour — the ultimate revenge. \u003ca href=\"http://www.ticketfly.com/event/1005069-kflay-san-jose/?utm_medium=459899\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11129161/together-in-electric-dreams-this-weeks-top-live-music-picks",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1316"
],
"featImg": "arts_11129423",
"label": "arts_140"
}
},
"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=music": {
"isFetching": false,
"latestQuery": {
"from": 3756,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 4900,
"relation": "eq"
},
"items": [
"arts_11146612",
"arts_11146363",
"arts_11141034",
"arts_11143285",
"about_5749",
"pop_19320",
"news_10782409",
"arts_11129413",
"arts_11132961",
"arts_11132967",
"pop_19275",
"arts_11129161"
],
"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_music": {
"isLoading": true
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_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_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_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_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_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"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_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"about_15": {
"type": "terms",
"id": "about_15",
"meta": {
"index": "terms_1716263798",
"site": "about",
"id": "15",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Giveaways",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Giveaways | KQED",
"ogDescription": null
},
"ttid": 15,
"slug": "giveaways",
"isLoading": false,
"link": "/about/program/giveaways"
},
"pop_4": {
"type": "terms",
"id": "pop_4",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "4",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4,
"slug": "music",
"isLoading": false,
"link": "/pop/category/music"
},
"news_72": {
"type": "terms",
"id": "news_72",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "72",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/TCR-2-Logo-Web-Banners-03.png",
"name": "The California Report",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The California Report Archives | KQED News",
"ogDescription": null
},
"ttid": 6969,
"slug": "the-california-report",
"isLoading": false,
"link": "/news/program/the-california-report"
},
"news_223": {
"type": "terms",
"id": "news_223",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "223",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED News",
"ogDescription": null
},
"ttid": 231,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/news/category/arts-and-culture"
},
"news_8": {
"type": "terms",
"id": "news_8",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "8",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED News",
"ogDescription": null
},
"ttid": 8,
"slug": "news",
"isLoading": false,
"link": "/news/category/news"
},
"news_160": {
"type": "terms",
"id": "news_160",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "160",
"found": true
},
"relationships": {},
"featImg": null,
"name": "history",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "history Archives | KQED News",
"ogDescription": null
},
"ttid": 167,
"slug": "history",
"isLoading": false,
"link": "/news/tag/history"
},
"news_1425": {
"type": "terms",
"id": "news_1425",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "1425",
"found": true
},
"relationships": {},
"featImg": null,
"name": "music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music Archives | KQED News",
"ogDescription": null
},
"ttid": 1437,
"slug": "music",
"isLoading": false,
"link": "/news/tag/music"
},
"news_856": {
"type": "terms",
"id": "news_856",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "856",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Religion",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Religion Archives | KQED News",
"ogDescription": null
},
"ttid": 866,
"slug": "religion",
"isLoading": false,
"link": "/news/tag/religion"
},
"news_17286": {
"type": "terms",
"id": "news_17286",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17286",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tcr",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tcr Archives | KQED News",
"ogDescription": null
},
"ttid": 17318,
"slug": "tcr",
"isLoading": false,
"link": "/news/tag/tcr"
},
"arts_1037": {
"type": "terms",
"id": "arts_1037",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1037",
"found": true
},
"relationships": {},
"featImg": null,
"name": "audio",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "audio Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1054,
"slug": "audio",
"isLoading": false,
"link": "/arts/tag/audio"
},
"arts_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"arts_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_1425": {
"type": "terms",
"id": "arts_1425",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1425",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Janis",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Janis Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1437,
"slug": "janis",
"isLoading": false,
"link": "/arts/tag/janis"
},
"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_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
},
"pop_7": {
"type": "terms",
"id": "pop_7",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "7",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Celebrity",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Celebrity Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7,
"slug": "celebrity",
"isLoading": false,
"link": "/pop/category/celebrity"
},
"arts_1316": {
"type": "terms",
"id": "arts_1316",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1316",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sound advice",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sound advice Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1328,
"slug": "sound-advice",
"isLoading": false,
"link": "/arts/tag/sound-advice"
}
},
"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
}
}
