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_13853236": {
"type": "attachments",
"id": "arts_13853236",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13853236",
"found": true
},
"parent": 13853224,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/SFMOMA-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/SFMOMA-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/SFMOMA-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/SFMOMA.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/SFMOMA-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/SFMOMA-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/SFMOMA-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/SFMOMA-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/SFMOMA-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/SFMOMA-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/SFMOMA-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/SFMOMA-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/SFMOMA-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/SFMOMA-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1552950158,
"modified": 1552950211,
"caption": "The San Francisco Museum of Modern Art.",
"description": "The San Francisco Museum of Modern Art.",
"title": "US-TECH-SFMOMA-ART",
"credit": "Josh Edelson/AFP/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13853183": {
"type": "attachments",
"id": "arts_13853183",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13853183",
"found": true
},
"parent": 13853182,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/gettyimages-74259813-7d977a916136a2a61554129b4eca4438685c8d45-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/gettyimages-74259813-7d977a916136a2a61554129b4eca4438685c8d45-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/gettyimages-74259813-7d977a916136a2a61554129b4eca4438685c8d45-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/gettyimages-74259813-7d977a916136a2a61554129b4eca4438685c8d45-e1552933302686.jpg",
"width": 1920,
"height": 1440
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/gettyimages-74259813-7d977a916136a2a61554129b4eca4438685c8d45-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/gettyimages-74259813-7d977a916136a2a61554129b4eca4438685c8d45-1200x900.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 900
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/gettyimages-74259813-7d977a916136a2a61554129b4eca4438685c8d45-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/gettyimages-74259813-7d977a916136a2a61554129b4eca4438685c8d45-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/gettyimages-74259813-7d977a916136a2a61554129b4eca4438685c8d45-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/gettyimages-74259813-7d977a916136a2a61554129b4eca4438685c8d45-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/gettyimages-74259813-7d977a916136a2a61554129b4eca4438685c8d45-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/gettyimages-74259813-7d977a916136a2a61554129b4eca4438685c8d45-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/gettyimages-74259813-7d977a916136a2a61554129b4eca4438685c8d45-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/gettyimages-74259813-7d977a916136a2a61554129b4eca4438685c8d45-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1552933219,
"modified": 1552933295,
"caption": "A photo of surf guitarist Dick Dale (with guitar) and his band, the Del-Tones.",
"description": "A photo of surf guitarist Dick Dale (with guitar) and his band, the Del-Tones.",
"title": "A photo of surf guitarist Dick Dale (with guitar) and his band, the Del-Tones.",
"credit": "Michael Ochs Archives/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13814632": {
"type": "attachments",
"id": "arts_13814632",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13814632",
"found": true
},
"parent": 13814628,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/11/MG_1082-1-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1510342252,
"modified": 1510342286,
"caption": "Metallica headlines Band Together Bay Area, a benefit concert for North Bay Fire relief at AT&T Park on Thursday, November 9.",
"description": "Metallica headlines Band Together Bay Area, a benefit concert for North Bay Fire relief at AT&T Park on Thursday, November 9.",
"title": "MG_1082",
"credit": "Estefany Gonzalez",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13853165": {
"type": "attachments",
"id": "arts_13853165",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13853165",
"found": true
},
"parent": 13853150,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Myspacelogo-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Myspacelogo-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Myspacelogo-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Myspacelogo.jpg",
"width": 1460,
"height": 821
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Myspacelogo-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Myspacelogo-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Myspacelogo-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Myspacelogo-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Myspacelogo-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Myspacelogo-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Myspacelogo-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Myspacelogo-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Myspacelogo-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1552931407,
"modified": 1552931494,
"caption": "MySpace reportedly admitted that it lost almost a decade's worth of music uploaded to the site.",
"description": "MySpace reportedly admitted that it lost almost a decade's worth of music uploaded to the site.",
"title": "Myspace music lost",
"credit": "MySpace",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13852742": {
"type": "attachments",
"id": "arts_13852742",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13852742",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-160x108.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 108
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8.jpg",
"width": 1920,
"height": 1300
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-1020x691.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 691
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-1200x813.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 813
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-800x542.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 542
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-1920x1300.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1300
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-768x520.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 520
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/9200MHSQ8-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1552377026,
"modified": 1552850397,
"caption": "Inmates and correctional officers sang side-by-side at a 1992 concert inside San Quentin State Prison, organized by the Grateful Dead.",
"description": "Inmates and correctional officers sang side-by-side at a 1992 concert inside San Quentin State Prison, organized by the Grateful Dead.",
"title": "San Quentin Gospel Grateful Dead",
"credit": "Susana Millman",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829861": {
"type": "attachments",
"id": "arts_13829861",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829861",
"found": true
},
"parent": 13829679,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Apple-Park-3-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1524097678,
"modified": 1552613863,
"caption": "Apple Park viewed from the air. Is this the best visual symbol of Silicon Valley? Or the South Bay?",
"description": "Apple Park viewed from the air. Is this the best visual symbol of Silicon Valley? Or the South Bay?",
"title": "Apple Park",
"credit": "Photo: Courtesy of Duncan Sinfield",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13853058": {
"type": "attachments",
"id": "arts_13853058",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13853058",
"found": true
},
"parent": 13853056,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Merwin.CopperCanyonPress-160x100.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Merwin.CopperCanyonPress-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Merwin.CopperCanyonPress.jpg",
"width": 800,
"height": 500
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Merwin.CopperCanyonPress-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Merwin.CopperCanyonPress-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Merwin.CopperCanyonPress-800x500.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 500
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Merwin.CopperCanyonPress-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Merwin.CopperCanyonPress-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Merwin.CopperCanyonPress-768x480.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 480
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Merwin.CopperCanyonPress-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1552685605,
"modified": 1552685657,
"caption": "W.S. Merwin, who died Friday at age 91.",
"description": "W.S. Merwin, who died Friday at age 91.",
"title": "Merwin.CopperCanyonPress",
"credit": "Copper Canyon Press/NPR",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13852732": {
"type": "attachments",
"id": "arts_13852732",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13852732",
"found": true
},
"parent": 13852729,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/JoelLipton.SchulzLetter.MAI_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/JoelLipton.SchulzLetter.MAI_-160x100.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/JoelLipton.SchulzLetter.MAI_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/JoelLipton.SchulzLetter.MAI_.jpg",
"width": 1920,
"height": 1200
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/JoelLipton.SchulzLetter.MAI_-1020x638.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 638
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/JoelLipton.SchulzLetter.MAI_-1200x750.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 750
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/JoelLipton.SchulzLetter.MAI_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/JoelLipton.SchulzLetter.MAI_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/JoelLipton.SchulzLetter.MAI_-800x500.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 500
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/JoelLipton.SchulzLetter.MAI_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/JoelLipton.SchulzLetter.MAI_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/JoelLipton.SchulzLetter.MAI_-1920x1200.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1200
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/JoelLipton.SchulzLetter.MAI_-768x480.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 480
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/JoelLipton.SchulzLetter.MAI_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1552370282,
"modified": 1552370374,
"caption": "Joel Lipton with the letter that he recently rediscovered, sent to him by 'Peanuts' creator Charles Schulz.",
"description": "Joel Lipton with the letter that he recently rediscovered, sent to him by 'Peanuts' creator Charles Schulz.",
"title": "JoelLipton.SchulzLetter.MAI",
"credit": "Sharon Lipton",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13852926": {
"type": "attachments",
"id": "arts_13852926",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13852926",
"found": true
},
"parent": 13852882,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/today-at-apple-5-1038x576.jpeg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/today-at-apple-5-160x90.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/today-at-apple-5-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/today-at-apple-5.jpeg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/today-at-apple-5-1020x574.jpeg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/today-at-apple-5-1200x675.jpeg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/today-at-apple-5-50x50.jpeg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/today-at-apple-5-96x96.jpeg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/today-at-apple-5-800x450.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/today-at-apple-5-64x64.jpeg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/today-at-apple-5-32x32.jpeg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/today-at-apple-5-1920x1080.jpeg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/today-at-apple-5-768x432.jpeg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/today-at-apple-5-128x128.jpeg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1552526516,
"modified": 1552526585,
"caption": "Creative collective Le Vanguard performed and did a panel discussion at the Apple store in Union Square in August 2018.",
"description": "Creative collective Le Vanguard performed and did a panel discussion at the Apple store in Union Square in August 2018.",
"title": "today at apple 5",
"credit": "Kristian Contreras/YK La Familia",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13852809": {
"type": "attachments",
"id": "arts_13852809",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13852809",
"found": true
},
"parent": 13852803,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_COVER-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_COVER-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_COVER-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_COVER-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_COVER-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_COVER-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_COVER-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1552440155,
"modified": 1552440322,
"caption": "Nighttime view of Joseph Kosuth's 'W.F.T. (San Francisco)' on the side of the Bill Graham Civic Auditorium.",
"description": "Nighttime view of Joseph Kosuth's 'W.F.T. (San Francisco)' on the side of the Bill Graham Civic Auditorium.",
"title": "joseph-kosuth-wft-san-francisco_COVER",
"credit": "Ethan Kaplan Photography",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13852768": {
"type": "attachments",
"id": "arts_13852768",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13852768",
"found": true
},
"parent": 13852765,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/FelicityHuffman-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/FelicityHuffman-160x100.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/FelicityHuffman-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/FelicityHuffman.jpg",
"width": 1024,
"height": 640
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/FelicityHuffman-1020x638.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 638
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/FelicityHuffman-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/FelicityHuffman-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/FelicityHuffman-800x500.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 500
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/FelicityHuffman-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/FelicityHuffman-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/FelicityHuffman-768x480.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 480
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/FelicityHuffman-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1552408069,
"modified": 1552408124,
"caption": "Felicity Huffman at the Emmy Awards in 2018 in Los Angeles, California. Huffman is among the parents named in a college admissions scandal.",
"description": "Felicity Huffman at the Emmy Awards in 2018 in Los Angeles, California. Huffman is among the parents named in a college admissions scandal.",
"title": "FelicityHuffman",
"credit": "Rebecca Sapp/Getty Images for Backstage Creations",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13852631": {
"type": "attachments",
"id": "arts_13852631",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13852631",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/BrianLFrank002-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/BrianLFrank002-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/BrianLFrank002-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/BrianLFrank002.jpg",
"width": 1920,
"height": 1278
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/BrianLFrank002-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/BrianLFrank002-1200x799.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 799
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/BrianLFrank002-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/BrianLFrank002-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/BrianLFrank002-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/BrianLFrank002-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/BrianLFrank002-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/BrianLFrank002-1920x1278.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1278
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/BrianLFrank002-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/BrianLFrank002-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1552089612,
"modified": 1552333422,
"caption": "Pine Grove, a rehabilitation camp in the foothills of California's Sierra Nevada mountains, is the last prison of its kind in the state, for juvenile offenders. During 'count,' when guards make a headcount every hour, Inmates Tello, Kermit and Tapia (L to R) work out at their bunks to stay fit for their physical work schedule. ",
"description": "NOT FOR USE ON OTHER STORIES OR SOCIAL MEDIA",
"title": "BrianLFrank002",
"credit": "Brian L. Frank/Catchlight Fellow/The Marshall Project",
"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_arts_13853182": {
"type": "authors",
"id": "byline_arts_13853182",
"meta": {
"override": true
},
"slug": "byline_arts_13853182",
"name": "Otis Hart, Anastasia Tsioulcas",
"isLoading": false
},
"byline_arts_13853150": {
"type": "authors",
"id": "byline_arts_13853150",
"meta": {
"override": true
},
"slug": "byline_arts_13853150",
"name": "Shannon Van Sant",
"isLoading": false
},
"byline_arts_13853056": {
"type": "authors",
"id": "byline_arts_13853056",
"meta": {
"override": true
},
"slug": "byline_arts_13853056",
"name": "JENNIFER KELLEHER and HILLEL ITALIE, Associated Press",
"isLoading": false
},
"byline_arts_13852765": {
"type": "authors",
"id": "byline_arts_13852765",
"meta": {
"override": true
},
"slug": "byline_arts_13852765",
"name": "Bill Chappell, Merrit Kennedy, KQED Arts Staff",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"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"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"azucenarasilla": {
"type": "authors",
"id": "11624",
"meta": {
"index": "authors_1716337520",
"id": "11624",
"found": true
},
"name": "Azucena Rasilla",
"firstName": "Azucena",
"lastName": "Rasilla",
"slug": "azucenarasilla",
"email": "azucena.rasilla@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Freelance Journalist I former East Bay Express I DM/email music/arts/culture tips that I can turn into stories I azucena.rasilla@gmail.com",
"avatar": "https://secure.gravatar.com/avatar/451ecba09a36b5e0f6fbb13210621eea?s=600&d=blank&r=g",
"twitter": "chroniclesofazu",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Azucena Rasilla | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/451ecba09a36b5e0f6fbb13210621eea?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/451ecba09a36b5e0f6fbb13210621eea?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/azucenarasilla"
}
},
"pagesReducer": {
"arts_category_news": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"score": 10.810677
},
"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,
"title": "News",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 111
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=news",
"seeMore": false,
"paginated": true,
"page": 111
}
},
{
"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_13853224": {
"type": "posts",
"id": "arts_13853224",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13853224",
"score": null,
"sort": [
1553007640000
]
},
"guestAuthors": [],
"slug": "sfmoma-moad-yerba-buena-museums-free-march-21",
"title": "SFMOMA, MoAD, Other Yerba Buena Museums Offer Free Entry for 3rd Thursday",
"publishDate": 1553007640,
"format": "standard",
"headTitle": "SFMOMA, MoAD, Other Yerba Buena Museums Offer Free Entry for 3rd Thursday | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>If you’re the kind of person who can spend your entire Thursday cruising the arts and cultural institutions of the Yerba Buena district, have I got a deal for you! (And for those of us with a 9-to-5, start thinking of ways you can ditch work early and head to downtown San Francisco in a few days.)\u003c/p>\n\u003cp>On Thursday, March 21, for an event that’s being called “\u003ca href=\"https://www.yb3tsf.org/\" target=\"_blank\" rel=\"noopener\">Culture for Community,\u003c/a>” 11 Yerba Buena arts and culture institutions, including the Museum of the African Diaspora, the California Historical Society, the Contemporary Jewish Museum, Yerba Buena Center for the Arts and (drum roll please) SFMOMA are offering free admission all day (some with extended hours) and special programming in honor of Women’s History Month.\u003c/p>\n\u003cp>[aside postID='arts_13848852,arts_13840458,arts_13850595,arts_13848287' label='What to See']\u003c/p>\n\u003cp>Mark Sabb, MoAD’s senior director for innovation and engagement says the coordinated theme (and SFMOMA’s participation, they usually sit out 3rd Thursdays) came out of the institutions’ collaboration during the Global Climate Action Summit last September. There was a desire in the wake of that gathering, he says, to reboot the 3rd Thursdays initiative with a more cohesive set of events. A second Culture for Community day is planned (theme TBA) for Sept. 19.\u003c/p>\n\u003cp>This time around, the thematic programs range from opportune to a stretch to not really there. MoAD, which Sabb says is interpreting “women’s history” more along the lines of “women’s empowerment,” hosts its regular 3rd Thursday \u003ca href=\"http://%5Bhttps://www.moadsf.org/event/moad-open-mic/?instance_id=15086\" target=\"_blank\" rel=\"noopener\">open mic night\u003c/a> (6–8pm) with special poet guests \u003ca href=\"https://www.kqed.org/arts/13838466/asha-san-jose-artist-educator-and-revolutionary-wants-you-to-speak-up\" target=\"_blank\" rel=\"noopener\">ASHA\u003c/a> and Nazelah Jamison.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, the CJM puts on a \u003ca href=\"https://www.thecjm.org/programs/469?utm_source=CforC_PressRelease&utm_medium=Feb12\" target=\"_blank\" rel=\"noopener\">Purim Cabaret\u003c/a> with San Francisco drag queen Miss Shugana (5–8pm); SFMOMA leads \u003ca href=\"https://www.sfmoma.org/event/special-exhibition-vija-celmins/\" rel=\"noopener\" target=\"_blank\">a tour of Vija Celmins\u003c/a>’ current retrospective (1:30pm); and the California Historical Society opens two shows about railroads—with curator and historian Natalie Pellolio \u003ca href=\"https://my.californiahistoricalsociety.org/single/EventDetail.aspx?p=1501\" target=\"_blank\" rel=\"noopener\">speaking\u003c/a> in the galleries at 5pm.\u003c/p>\n\u003cp>More details on some of the larger participating institutions and when they’re \u003ci>actually\u003c/i> free (because let’s face it, I know what you’re here for):\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>California Historical Society\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>Contemporary Jewish Museum\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>MoAD\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>SFMOMA\u003c/strong>: Free 10am–9pm (\u003ca href=\"https://tickets.sfmoma.org/tickets/3035/109/\" target=\"_blank\" rel=\"noopener\">reserve your tickets\u003c/a>)\u003c/li>\n\u003cli>\u003cstrong>YBCA\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>See the full list of spaces participating in the March 21 Culture for Community events \u003ca href=\"https://www.yb3tsf.org/locations\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "An expansion on the neighborhood's 3rd Thursday programming opens doors and commissions special programming for Women's History Month. ",
"status": "publish",
"parent": 0,
"modified": 1726767186,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 414
},
"headData": {
"title": "SFMOMA, MoAD, Other Yerba Buena Museums Offer Free Entry for 3rd Thursday | KQED",
"description": "An expansion on the neighborhood's 3rd Thursday programming opens doors and commissions special programming for Women's History Month. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "SFMOMA, MoAD, Other Yerba Buena Museums Offer Free Entry for 3rd Thursday",
"datePublished": "2019-03-19T08:00:40-07:00",
"dateModified": "2024-09-19T10:33:06-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13853224/sfmoma-moad-yerba-buena-museums-free-march-21",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re the kind of person who can spend your entire Thursday cruising the arts and cultural institutions of the Yerba Buena district, have I got a deal for you! (And for those of us with a 9-to-5, start thinking of ways you can ditch work early and head to downtown San Francisco in a few days.)\u003c/p>\n\u003cp>On Thursday, March 21, for an event that’s being called “\u003ca href=\"https://www.yb3tsf.org/\" target=\"_blank\" rel=\"noopener\">Culture for Community,\u003c/a>” 11 Yerba Buena arts and culture institutions, including the Museum of the African Diaspora, the California Historical Society, the Contemporary Jewish Museum, Yerba Buena Center for the Arts and (drum roll please) SFMOMA are offering free admission all day (some with extended hours) and special programming in honor of Women’s History Month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13848852,arts_13840458,arts_13850595,arts_13848287",
"label": "What to See "
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mark Sabb, MoAD’s senior director for innovation and engagement says the coordinated theme (and SFMOMA’s participation, they usually sit out 3rd Thursdays) came out of the institutions’ collaboration during the Global Climate Action Summit last September. There was a desire in the wake of that gathering, he says, to reboot the 3rd Thursdays initiative with a more cohesive set of events. A second Culture for Community day is planned (theme TBA) for Sept. 19.\u003c/p>\n\u003cp>This time around, the thematic programs range from opportune to a stretch to not really there. MoAD, which Sabb says is interpreting “women’s history” more along the lines of “women’s empowerment,” hosts its regular 3rd Thursday \u003ca href=\"http://%5Bhttps://www.moadsf.org/event/moad-open-mic/?instance_id=15086\" target=\"_blank\" rel=\"noopener\">open mic night\u003c/a> (6–8pm) with special poet guests \u003ca href=\"https://www.kqed.org/arts/13838466/asha-san-jose-artist-educator-and-revolutionary-wants-you-to-speak-up\" target=\"_blank\" rel=\"noopener\">ASHA\u003c/a> and Nazelah Jamison.\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>Meanwhile, the CJM puts on a \u003ca href=\"https://www.thecjm.org/programs/469?utm_source=CforC_PressRelease&utm_medium=Feb12\" target=\"_blank\" rel=\"noopener\">Purim Cabaret\u003c/a> with San Francisco drag queen Miss Shugana (5–8pm); SFMOMA leads \u003ca href=\"https://www.sfmoma.org/event/special-exhibition-vija-celmins/\" rel=\"noopener\" target=\"_blank\">a tour of Vija Celmins\u003c/a>’ current retrospective (1:30pm); and the California Historical Society opens two shows about railroads—with curator and historian Natalie Pellolio \u003ca href=\"https://my.californiahistoricalsociety.org/single/EventDetail.aspx?p=1501\" target=\"_blank\" rel=\"noopener\">speaking\u003c/a> in the galleries at 5pm.\u003c/p>\n\u003cp>More details on some of the larger participating institutions and when they’re \u003ci>actually\u003c/i> free (because let’s face it, I know what you’re here for):\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>California Historical Society\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>Contemporary Jewish Museum\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>MoAD\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003cli>\u003cstrong>SFMOMA\u003c/strong>: Free 10am–9pm (\u003ca href=\"https://tickets.sfmoma.org/tickets/3035/109/\" target=\"_blank\" rel=\"noopener\">reserve your tickets\u003c/a>)\u003c/li>\n\u003cli>\u003cstrong>YBCA\u003c/strong>: Free 11am–8pm\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>See the full list of spaces participating in the March 21 Culture for Community events \u003ca href=\"https://www.yb3tsf.org/locations\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13853224/sfmoma-moad-yerba-buena-museums-free-march-21",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_4686",
"arts_1787",
"arts_1118",
"arts_1006",
"arts_1987",
"arts_596",
"arts_1381",
"arts_1040"
],
"featImg": "arts_13853236",
"label": "arts_140"
},
"arts_13853182": {
"type": "posts",
"id": "arts_13853182",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13853182",
"score": null,
"sort": [
1552934262000
]
},
"guestAuthors": [],
"slug": "dick-dale-surf-guitar-legend-dead-at-81",
"title": "Dick Dale, Surf Guitar Legend, Dead At 81",
"publishDate": 1552934262,
"format": "standard",
"headTitle": "Dick Dale, Surf Guitar Legend, Dead At 81 | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>Dick Dale, the surf rock pioneer who took reverb to new levels, died on Saturday night. He was 81. The guitarist’s health had declined over the past 20 years due to a number of illnesses, including diabetes, kidney disease and rectal cancer. The news was confirmed to NPR by Dusty Watson, a drummer who worked and toured with Dale between 1995 and 2006, who says he spoke with Dale’s wife, Lana Dale. No cause was given.\u003c/p>\n\u003cp>Dale, born Richard Anthony Monsour in 1937, changed the sound of rock and roll in the early 1960s when he upped the reverb on his guitar and applied the Arabic scales of his father’s native Lebanon. Born and originally raised in Massachusetts, he found his aesthetic when his family moved to Orange County, California in 1954—where he took up surfing.\u003c/p>\n\u003cp>[contextly_sidebar id=”183YBqjoFCgM3n39IS44W6BARMAjhZrL”]\u003c/p>\n\u003cp>His high-energy interpretation of \u003ca href=\"https://www.youtube.com/watch?v=LW6qGy3RtwY\">an old song from Asia Minor\u003c/a>, “Misirlou” (Egyptian Girl), became the most famous song of surf rock: He had learned the tune from his Lebanese uncles, who played it on the \u003cem>oud\u003c/em>.\u003c/p>\n\u003cp>“I started playing it,” Dale, who had started out as a drummer, told \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=130111454\">NPR in a 2010 interview\u003c/a>, “and I said, ‘Oh no, that’s too slow.’ And I thought of Gene Krupa’s drumming, his staccato drumming… When we went to California, I got my first guitar, but I was using this rocket-attack, Gene Krupa rhythm on the guitar.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And that wildfire-tempo song became his signature: Dale self-released “Misirlou” as a single on Deltone Records in 1962, which led in part to a deal with Capitol Records to distribute his first album, 1962’s \u003cem>Surfer’s Choice\u003c/em>. Dale’s first album for Capitol was 1963’s \u003cem>King of the Surf Guitar\u003c/em>; he said that fans at an early show came up with the honorary moniker.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Miserlou\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/mKpsuGMeqHI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Dale’s collaborations with guitar inventor Leo Fender also made sonic history. “I met a man called Leo Fender,” he told NPR, “who is the Einstein of the guitar and the amplifiers. He says, ‘Here, I just made a guitar, it’s a Stratocaster. You just beat it to death and tell me what you think. So when I started playing on that thing, I wanted to get it to be as loud as I could, like Gene Krupa drums. And as I was surfing, when the waves picked me up and took me through the tubes, I would get that rumble sound.”\u003c/p>\n\u003cp>Fender and Dale also worked together on amplifiers, Dale told \u003cem>Fresh Air\u003c/em>‘s Terry Gross in 1993. “I wanted to get a fat, thick, deep sound,” Dale remarked.\u003c/p>\n\u003cp>[contextly_sidebar id=”5u88zYVPpPEqRdoseCXB3TYcWpy63tAH”]\u003c/p>\n\u003cp>Fender kept trying options, but Dale still wasn’t satisfied. “We kept on making all these adjustments with output transformers, with speakers,” Dale told \u003cem>Fresh Air\u003c/em>, “and that’s how I blew up over 48 speakers and amplifiers. They’d catch on fire, the speakers would freeze, the speakers would tear from the coils … So he went back to the drawing board came up and invented the Dick Dale Showman amplifier, and the dual Showman amplifier with the 15 inch Lansing speaker. That was the end result … along with the creations that we did on the Stratocaster guitar, making it a real thick body because the thicker the wood, the purer the sound.”\u003c/p>\n\u003cp>Three decades after he first released his most famous tune, Dale and “Misirlou” had a wave of resurgence after the song was featured in the opening credits of Quentin Tarantino’s 1994 film \u003cem>Pulp Fiction\u003c/em>. The movie’s soundtrack sold more than 3 million copies and helped put surf rock—and Dale himself—in front of a new generation of music fans. New compilations were issued and he was even booked on the 1996 Warped Tour.\u003c/p>\n\u003cp>Over the decades that followed, he released two more albums and kept playing in front of live audiences. “I make my guitar scream with pain or pleasure or sensuality,” he told NPR. “It makes people move their feet and shake their bodies. That’s what music does.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Andrew Flanagan contributed additional reporting.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dick+Dale%2C+Surf+Guitar+Legend%2C+Dead+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Dick Dale, the surf rock pioneer who took guitar distortion to new levels and whose version of \"Misirlou\" became pop-culture shorthand, died on Saturday night.",
"status": "publish",
"parent": 0,
"modified": 1726704747,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 747
},
"headData": {
"title": "Dick Dale, Surf Guitar Legend, Dead At 81 | KQED",
"description": "Dick Dale, the surf rock pioneer who took guitar distortion to new levels and whose version of "Misirlou" became pop-culture shorthand, died on Saturday night.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Dick Dale, Surf Guitar Legend, Dead At 81",
"datePublished": "2019-03-18T11:37:42-07:00",
"dateModified": "2024-09-18T17:12:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Michael Ochs Archives",
"nprByline": "Otis Hart, Anastasia Tsioulcas",
"nprImageAgency": "Getty Images",
"nprStoryId": "704329806",
"nprApiLink": "http://api.npr.org/query?id=704329806&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/03/18/704329806/dick-dale-surf-guitar-legend-dead-at-81?ft=nprml&f=704329806",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 18 Mar 2019 00:51:00 -0400",
"nprStoryDate": "Mon, 18 Mar 2019 00:46:00 -0400",
"nprLastModifiedDate": "Mon, 18 Mar 2019 00:51:39 -0400",
"path": "/arts/13853182/dick-dale-surf-guitar-legend-dead-at-81",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dick Dale, the surf rock pioneer who took reverb to new levels, died on Saturday night. He was 81. The guitarist’s health had declined over the past 20 years due to a number of illnesses, including diabetes, kidney disease and rectal cancer. The news was confirmed to NPR by Dusty Watson, a drummer who worked and toured with Dale between 1995 and 2006, who says he spoke with Dale’s wife, Lana Dale. No cause was given.\u003c/p>\n\u003cp>Dale, born Richard Anthony Monsour in 1937, changed the sound of rock and roll in the early 1960s when he upped the reverb on his guitar and applied the Arabic scales of his father’s native Lebanon. Born and originally raised in Massachusetts, he found his aesthetic when his family moved to Orange County, California in 1954—where he took up surfing.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>His high-energy interpretation of \u003ca href=\"https://www.youtube.com/watch?v=LW6qGy3RtwY\">an old song from Asia Minor\u003c/a>, “Misirlou” (Egyptian Girl), became the most famous song of surf rock: He had learned the tune from his Lebanese uncles, who played it on the \u003cem>oud\u003c/em>.\u003c/p>\n\u003cp>“I started playing it,” Dale, who had started out as a drummer, told \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=130111454\">NPR in a 2010 interview\u003c/a>, “and I said, ‘Oh no, that’s too slow.’ And I thought of Gene Krupa’s drumming, his staccato drumming… When we went to California, I got my first guitar, but I was using this rocket-attack, Gene Krupa rhythm on the guitar.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that wildfire-tempo song became his signature: Dale self-released “Misirlou” as a single on Deltone Records in 1962, which led in part to a deal with Capitol Records to distribute his first album, 1962’s \u003cem>Surfer’s Choice\u003c/em>. Dale’s first album for Capitol was 1963’s \u003cem>King of the Surf Guitar\u003c/em>; he said that fans at an early show came up with the honorary moniker.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Miserlou\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/mKpsuGMeqHI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Dale’s collaborations with guitar inventor Leo Fender also made sonic history. “I met a man called Leo Fender,” he told NPR, “who is the Einstein of the guitar and the amplifiers. He says, ‘Here, I just made a guitar, it’s a Stratocaster. You just beat it to death and tell me what you think. So when I started playing on that thing, I wanted to get it to be as loud as I could, like Gene Krupa drums. And as I was surfing, when the waves picked me up and took me through the tubes, I would get that rumble sound.”\u003c/p>\n\u003cp>Fender and Dale also worked together on amplifiers, Dale told \u003cem>Fresh Air\u003c/em>‘s Terry Gross in 1993. “I wanted to get a fat, thick, deep sound,” Dale remarked.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Fender kept trying options, but Dale still wasn’t satisfied. “We kept on making all these adjustments with output transformers, with speakers,” Dale told \u003cem>Fresh Air\u003c/em>, “and that’s how I blew up over 48 speakers and amplifiers. They’d catch on fire, the speakers would freeze, the speakers would tear from the coils … So he went back to the drawing board came up and invented the Dick Dale Showman amplifier, and the dual Showman amplifier with the 15 inch Lansing speaker. That was the end result … along with the creations that we did on the Stratocaster guitar, making it a real thick body because the thicker the wood, the purer the sound.”\u003c/p>\n\u003cp>Three decades after he first released his most famous tune, Dale and “Misirlou” had a wave of resurgence after the song was featured in the opening credits of Quentin Tarantino’s 1994 film \u003cem>Pulp Fiction\u003c/em>. The movie’s soundtrack sold more than 3 million copies and helped put surf rock—and Dale himself—in front of a new generation of music fans. New compilations were issued and he was even booked on the 1996 Warped Tour.\u003c/p>\n\u003cp>Over the decades that followed, he released two more albums and kept playing in front of live audiences. “I make my guitar scream with pain or pleasure or sensuality,” he told NPR. “It makes people move their feet and shake their bodies. That’s what music does.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Andrew Flanagan contributed additional reporting.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dick+Dale%2C+Surf+Guitar+Legend%2C+Dead+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13853182/dick-dale-surf-guitar-legend-dead-at-81",
"authors": [
"byline_arts_13853182"
],
"categories": [
"arts_69",
"arts_235",
"arts_1564"
],
"tags": [
"arts_1398",
"arts_6929",
"arts_4681",
"arts_746",
"arts_6418",
"arts_596",
"arts_1091",
"arts_905"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13853183",
"label": "arts_137"
},
"arts_13853148": {
"type": "posts",
"id": "arts_13853148",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13853148",
"score": null,
"sort": [
1552933375000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1552933375,
"format": "image",
"title": "SF Symphony and Metallica to Headline Inaugural Chase Center Concert",
"headTitle": "SF Symphony and Metallica to Headline Inaugural Chase Center Concert | KQED",
"content": "\u003cp>In 1999, the San Francisco Symphony and Metallica made history with \u003cem>S&M\u003c/em>, a series of concerts at the Berkeley Community Theatre that become a Grammy-winning live album.\u003c/p>\n\u003cp>On Sept. 6, the two Bay Area music giants will join forces once again for \u003cem>S&M2\u003c/em>, the inaugural event at San Francisco’s new Chase Center, which will soon become the home of the Golden State Warriors. The one-off concert celebrates the live album’s 20th anniversary, with Edwin Outwater as conductor and a specially appearance from San Francisco Symphony music director Michael Tilson Thomas.\u003c/p>\n\u003cp>The collaboration was announced today as part of Reveal Week, the first look at the events coming to the 18,064-capacity arena.\u003c/p>\n\u003cp>Presale tickets for \u003cem>S&M2\u003c/em> go on sale for Metallica \u003ca href=\"https://www.metallica.com/metclub/\" target=\"_blank\" rel=\"noopener\">fan club members\u003c/a> on March 19 at 9am, and for \u003ca href=\"http://chasecenter.com/event/1\" target=\"_blank\" rel=\"noopener\">Chase cardholders\u003c/a> at noon. They’ll become available to the \u003ca href=\"http://chasecenter.com\" target=\"_blank\" rel=\"noopener\">general public\u003c/a> on March 22 at 10am.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BJt1rdFZXlY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 171,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705026473,
"excerpt": "Presale tickets go on sale on March 19.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Presale tickets go on sale on March 19.",
"title": "SF Symphony and Metallica to Headline Inaugural Chase Center Concert | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "SF Symphony and Metallica to Headline Inaugural Chase Center Concert",
"datePublished": "2019-03-18T11:22:55-07:00",
"dateModified": "2024-01-11T18:27:53-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "sf-symphony-and-metallica-to-headline-inaugural-chase-center-concert",
"status": "publish",
"sticky": false,
"path": "/arts/13853148/sf-symphony-and-metallica-to-headline-inaugural-chase-center-concert",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1999, the San Francisco Symphony and Metallica made history with \u003cem>S&M\u003c/em>, a series of concerts at the Berkeley Community Theatre that become a Grammy-winning live album.\u003c/p>\n\u003cp>On Sept. 6, the two Bay Area music giants will join forces once again for \u003cem>S&M2\u003c/em>, the inaugural event at San Francisco’s new Chase Center, which will soon become the home of the Golden State Warriors. The one-off concert celebrates the live album’s 20th anniversary, with Edwin Outwater as conductor and a specially appearance from San Francisco Symphony music director Michael Tilson Thomas.\u003c/p>\n\u003cp>The collaboration was announced today as part of Reveal Week, the first look at the events coming to the 18,064-capacity arena.\u003c/p>\n\u003cp>Presale tickets for \u003cem>S&M2\u003c/em> go on sale for Metallica \u003ca href=\"https://www.metallica.com/metclub/\" target=\"_blank\" rel=\"noopener\">fan club members\u003c/a> on March 19 at 9am, and for \u003ca href=\"http://chasecenter.com/event/1\" target=\"_blank\" rel=\"noopener\">Chase cardholders\u003c/a> at noon. They’ll become available to the \u003ca href=\"http://chasecenter.com\" target=\"_blank\" rel=\"noopener\">general public\u003c/a> on March 22 at 10am.\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/BJt1rdFZXlY'\n title='//www.youtube.com/embed/BJt1rdFZXlY'\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13853148/sf-symphony-and-metallica-to-headline-inaugural-chase-center-concert",
"authors": [
"11387"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_6926",
"arts_1118",
"arts_1010",
"arts_1367"
],
"featImg": "arts_13814632",
"label": "arts_140"
},
"arts_13853150": {
"type": "posts",
"id": "arts_13853150",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13853150",
"score": null,
"sort": [
1552931638000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1552931638,
"format": "standard",
"title": "MySpace Says It Lost Years Of User-Uploaded Music",
"headTitle": "MySpace Says It Lost Years Of User-Uploaded Music | KQED",
"content": "\u003cp>MySpace — the once-dominant social media platform that was largely subsumed by Facebook — may have lost a decade’s worth of music uploaded by users, the company says.\u003c/p>\n\u003cp>MySpace started in 2003 and quickly gained traction as a platform for uploading and sharing music, particularly for new bands trying to find an audience.\u003c/p>\n\u003cp>Now the company says millions of music files uploaded to the site may have disappeared.\u003c/p>\n\u003cp>NPR has reached out for comment from MySpace. According to several media reports, it posted a message on its site recently reading, “As a result of a server migration project, any photos, videos, and audio files you uploaded more than three years ago may no longer be available on or from MySpace. We apologize for the inconvenience.” \u003c/p>\n\u003cp>“More than 50 million tracks from 14 million artists has been lost,” reports \u003ca href=\"https://www.theguardian.com/technology/2019/mar/18/myspace-loses-all-content-uploaded-before-2016\">The Guardian\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Users of the social network have reported problems accessing their music over the past year. On “techsupport,” a Reddit forum,\u003ca href=\"https://www.reddit.com/r/techsupport/comments/7uiv8b/myspace_player_wont_play_songs_and_i_want_to/\"> one user wrote a year ago\u003c/a>, “duuuude i need my songs I hope they fix this soon.” \u003c/p>\n\u003cp>Another user responded: \u003c/p>\n\u003cblockquote>\n\u003cp>“I emailed their support, and got this… Slightly hope destroying message, so I don’t know. I’m not putting a lot of faith in them tbh …\u003c/p>\n\u003cp>‘There is an issue with all songs/videos uploaded over 3 years ago. We are aware of the issue and I have been informed the issue will be fixed, however, there is no exact time frame for when this will be completed. Until this is resolved the option to download is not available. I apologize for the inconvenience this may be causing.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>Andy Baio, one of the people behind Kickstarter, tweeted, “Myspace accidentally lost all the music uploaded from its first 12 years in a server migration, losing over 50 million songs from 14 million artists. I’m deeply skeptical this was an accident. Flagrant incompetence may be bad PR, but it still sounds better than ‘we can’t be bothered with the effort and cost of migrating and hosting 50 million old MP3s.'” \u003c/p>\n\u003cp>In 2006 MySpace was the most visited Internet site in the U.S, and helped launch the careers of music stars such as Lily Allen, the Arctic Monkeys and Kate Nash.\u003c/p>\n\u003cp>The site was purchased by News Corp. in 2005 for $580 million. News Corp. considered acquiring Yahoo and merging it with MySpace but eventually dropped those plans. Instead, it sold MySpace for $35 million in 2011. The site has waned in popularity since its creation, but some members have continued to use it as a place to store music, photos and other media files. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=MySpace+Says+It+Lost+Years+Of+User-Uploaded+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 470,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705026475,
"excerpt": "Millions of music and other media files may have been lost, the company acknowledges. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Millions of music and other media files may have been lost, the company acknowledges. ",
"title": "MySpace Says It Lost Years Of User-Uploaded Music | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "MySpace Says It Lost Years Of User-Uploaded Music",
"datePublished": "2019-03-18T10:53:58-07:00",
"dateModified": "2024-01-11T18:27:55-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "myspace-says-it-lost-years-of-user-uploaded-music",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=704458168&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Shannon Van Sant",
"nprStoryDate": "Mon, 18 Mar 2019 12:47:51 -0400",
"nprLastModifiedDate": "Mon, 18 Mar 2019 13:08:31 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/03/18/704458168/myspace-says-it-lost-years-of-user-uploaded-music?ft=nprml&f=704458168",
"nprImageAgency": "AP",
"nprImageCredit": "Paul Sakuma",
"nprStoryId": "704458168",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 18 Mar 2019 13:08:00 -0400",
"path": "/arts/13853150/myspace-says-it-lost-years-of-user-uploaded-music",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>MySpace — the once-dominant social media platform that was largely subsumed by Facebook — may have lost a decade’s worth of music uploaded by users, the company says.\u003c/p>\n\u003cp>MySpace started in 2003 and quickly gained traction as a platform for uploading and sharing music, particularly for new bands trying to find an audience.\u003c/p>\n\u003cp>Now the company says millions of music files uploaded to the site may have disappeared.\u003c/p>\n\u003cp>NPR has reached out for comment from MySpace. According to several media reports, it posted a message on its site recently reading, “As a result of a server migration project, any photos, videos, and audio files you uploaded more than three years ago may no longer be available on or from MySpace. We apologize for the inconvenience.” \u003c/p>\n\u003cp>“More than 50 million tracks from 14 million artists has been lost,” reports \u003ca href=\"https://www.theguardian.com/technology/2019/mar/18/myspace-loses-all-content-uploaded-before-2016\">The Guardian\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Users of the social network have reported problems accessing their music over the past year. On “techsupport,” a Reddit forum,\u003ca href=\"https://www.reddit.com/r/techsupport/comments/7uiv8b/myspace_player_wont_play_songs_and_i_want_to/\"> one user wrote a year ago\u003c/a>, “duuuude i need my songs I hope they fix this soon.” \u003c/p>\n\u003cp>Another user responded: \u003c/p>\n\u003cblockquote>\n\u003cp>“I emailed their support, and got this… Slightly hope destroying message, so I don’t know. I’m not putting a lot of faith in them tbh …\u003c/p>\n\u003cp>‘There is an issue with all songs/videos uploaded over 3 years ago. We are aware of the issue and I have been informed the issue will be fixed, however, there is no exact time frame for when this will be completed. Until this is resolved the option to download is not available. I apologize for the inconvenience this may be causing.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>Andy Baio, one of the people behind Kickstarter, tweeted, “Myspace accidentally lost all the music uploaded from its first 12 years in a server migration, losing over 50 million songs from 14 million artists. I’m deeply skeptical this was an accident. Flagrant incompetence may be bad PR, but it still sounds better than ‘we can’t be bothered with the effort and cost of migrating and hosting 50 million old MP3s.'” \u003c/p>\n\u003cp>In 2006 MySpace was the most visited Internet site in the U.S, and helped launch the careers of music stars such as Lily Allen, the Arctic Monkeys and Kate Nash.\u003c/p>\n\u003cp>The site was purchased by News Corp. in 2005 for $580 million. News Corp. considered acquiring Yahoo and merging it with MySpace but eventually dropped those plans. Instead, it sold MySpace for $35 million in 2011. The site has waned in popularity since its creation, but some members have continued to use it as a place to store music, photos and other media files. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=MySpace+Says+It+Lost+Years+Of+User-Uploaded+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13853150/myspace-says-it-lost-years-of-user-uploaded-music",
"authors": [
"byline_arts_13853150"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_2137"
],
"featImg": "arts_13853165",
"label": "arts"
},
"arts_13853019": {
"type": "posts",
"id": "arts_13853019",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13853019",
"score": null,
"sort": [
1552850638000
]
},
"guestAuthors": [],
"slug": "the-time-the-grateful-dead-organized-a-gospel-concert-at-san-quentin",
"title": "The Time the Grateful Dead Organized a Gospel Concert at San Quentin",
"publishDate": 1552850638,
"format": "standard",
"headTitle": "The Time the Grateful Dead Organized a Gospel Concert at San Quentin | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It all started with a feeling. \u003c/p>\n\u003cp>The year was 1992, and Grateful Dead manager Danny Rifkin was driving a van past San Quentin State Prison with the Gyuto Monks. According to Grateful Dead publicist Dennis McNally, “The monks saw the building and said, ‘We sense a lot of pain over there.'”\u003c/p>\n\u003cp>When Rifkin told them it was a prison, they asked to pull over for a puja, or healing prayer. Rifkin later connected with prison chaplain \u003ca href=\"http://www.chaplainearlsmith.com/\" rel=\"noopener\" target=\"_blank\">Earl Smith\u003c/a> to see about getting inside San Quentin, and he asked, “What’s the single best thing we can do?”\u003c/p>\n\u003cp>“And Earl said, ‘Convince these guys that they’re not here isolated for the rest of their lives, and that they still have a connection to the rest of the planet and society,'” McNally recalls. “Eventually, this led to Mickey Hart learning about their gospel choir.”\u003c/p>\n\u003cfigure id=\"attachment_13852759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/9200MHSQ25-800x543.jpg\" alt=\"Mickey Hart at the concert inside San Quentin State Prison that resulted in the 1993 release of 'He's All I Need.'\" width=\"800\" height=\"543\" class=\"size-medium wp-image-13852759\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mickey Hart at the concert inside San Quentin State Prison that resulted in the 1993 release of ‘He’s All I Need.’ \u003ccite>(Susana Millman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The resulting concert inside San Quentin is a key moment in \u003cem>\u003ca href=\"https://www.facebook.com/invisiblebars/\" rel=\"noopener\" target=\"_blank\">Invisible Bars\u003c/a>\u003c/em>, a documentary by Bay Area filmmaker John Beck about the effect of prison on the families and children of the incarcerated. (It \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=25420\" rel=\"noopener\" target=\"_blank\">premieres on KQED TV\u003c/a> on Tuesday, March 19, at 11 p.m.) \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was an opportunity to leave there without leaving there, because you were in another place,” remembers Smith today. “We had a mix of staff and inmates doing what had never been done before. We had female staff members join the choir, and correctional officers playing the organ and drums.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nKLZHwr1Jj8\u003c/p>\n\u003cp>\u003cem>He’s All I Need\u003c/em>, a recording of the concert, was released by Grateful Dead Records in 1993. In the middle of some songs, inmates and prison staff alike tell short stories about their life at San Quentin, and testify to the Lord’s care. Looking back, “there was a magic about it,” says Smith, now the team chaplain for the Warriors and 49ers. \u003c/p>\n\u003cp>“Prison air is toxic, in so many cases, and what happened in that time, there was a breathing of clean air,” he adds.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13852737,13852743,13852750,13852740,13852745,13852752,13852739,13852754,13852744\"]\u003c/p>\n\u003cp>Another thing happened that day: Smith suggested to Rifkin that the Grateful Dead use their resources to help the children of inmates, who are at greater risk of landing in prison themselves. That eventually led to the creation of \u003ca href=\"http://www.projectavary.org/\" rel=\"noopener\" target=\"_blank\">Project Avary\u003c/a>, a nonprofit that provides support and guidance for children of incarcerated parents. \u003c/p>\n\u003cp>It’s the stories of those children shown in \u003cem>Invisible Bars\u003c/em>. (Public defender Jeff Adachi, who \u003ca href=\"https://www.kqed.org/news/11728381/san-francisco-public-defender-jeff-adachi-dies-at-age-59\" rel=\"noopener\" target=\"_blank\">died unexpectedly\u003c/a> in February, appears in the documentary as well.) And it all started with that day inside San Quentin, over 25 years ago.\u003c/p>\n\u003cp>“Even when you know that they’re going to let you out, when that door closes behind you, it is one cold feeling,” says McNally today.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But at least for a day, there was a light in the middle of their dark, regular days. They felt it. And the audience in the chapel was just seized by the moment and the music.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "See inmates and prison guards singing side-by-side at the concert inside San Quentin State Prison.",
"status": "publish",
"parent": 0,
"modified": 1726767191,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": true,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 561
},
"headData": {
"title": "The Time the Grateful Dead Organized a Gospel Concert at San Quentin | KQED",
"description": "See inmates and prison guards singing side-by-side at the concert inside San Quentin State Prison.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Time the Grateful Dead Organized a Gospel Concert at San Quentin",
"datePublished": "2019-03-17T12:23:58-07:00",
"dateModified": "2024-09-19T10:33:11-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13853019/the-time-the-grateful-dead-organized-a-gospel-concert-at-san-quentin",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It all started with a feeling. \u003c/p>\n\u003cp>The year was 1992, and Grateful Dead manager Danny Rifkin was driving a van past San Quentin State Prison with the Gyuto Monks. According to Grateful Dead publicist Dennis McNally, “The monks saw the building and said, ‘We sense a lot of pain over there.'”\u003c/p>\n\u003cp>When Rifkin told them it was a prison, they asked to pull over for a puja, or healing prayer. Rifkin later connected with prison chaplain \u003ca href=\"http://www.chaplainearlsmith.com/\" rel=\"noopener\" target=\"_blank\">Earl Smith\u003c/a> to see about getting inside San Quentin, and he asked, “What’s the single best thing we can do?”\u003c/p>\n\u003cp>“And Earl said, ‘Convince these guys that they’re not here isolated for the rest of their lives, and that they still have a connection to the rest of the planet and society,'” McNally recalls. “Eventually, this led to Mickey Hart learning about their gospel choir.”\u003c/p>\n\u003cfigure id=\"attachment_13852759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/9200MHSQ25-800x543.jpg\" alt=\"Mickey Hart at the concert inside San Quentin State Prison that resulted in the 1993 release of 'He's All I Need.'\" width=\"800\" height=\"543\" class=\"size-medium wp-image-13852759\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9200MHSQ25.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mickey Hart at the concert inside San Quentin State Prison that resulted in the 1993 release of ‘He’s All I Need.’ \u003ccite>(Susana Millman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The resulting concert inside San Quentin is a key moment in \u003cem>\u003ca href=\"https://www.facebook.com/invisiblebars/\" rel=\"noopener\" target=\"_blank\">Invisible Bars\u003c/a>\u003c/em>, a documentary by Bay Area filmmaker John Beck about the effect of prison on the families and children of the incarcerated. (It \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=25420\" rel=\"noopener\" target=\"_blank\">premieres on KQED TV\u003c/a> on Tuesday, March 19, at 11 p.m.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was an opportunity to leave there without leaving there, because you were in another place,” remembers Smith today. “We had a mix of staff and inmates doing what had never been done before. We had female staff members join the choir, and correctional officers playing the organ and drums.”\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/nKLZHwr1Jj8'\n title='//www.youtube.com/embed/nKLZHwr1Jj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>He’s All I Need\u003c/em>, a recording of the concert, was released by Grateful Dead Records in 1993. In the middle of some songs, inmates and prison staff alike tell short stories about their life at San Quentin, and testify to the Lord’s care. Looking back, “there was a magic about it,” says Smith, now the team chaplain for the Warriors and 49ers. \u003c/p>\n\u003cp>“Prison air is toxic, in so many cases, and what happened in that time, there was a breathing of clean air,” he adds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "gallery",
"attributes": {
"named": {
"type": "slideshow",
"size": "full",
"ids": "13852737,13852743,13852750,13852740,13852745,13852752,13852739,13852754,13852744",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another thing happened that day: Smith suggested to Rifkin that the Grateful Dead use their resources to help the children of inmates, who are at greater risk of landing in prison themselves. That eventually led to the creation of \u003ca href=\"http://www.projectavary.org/\" rel=\"noopener\" target=\"_blank\">Project Avary\u003c/a>, a nonprofit that provides support and guidance for children of incarcerated parents. \u003c/p>\n\u003cp>It’s the stories of those children shown in \u003cem>Invisible Bars\u003c/em>. (Public defender Jeff Adachi, who \u003ca href=\"https://www.kqed.org/news/11728381/san-francisco-public-defender-jeff-adachi-dies-at-age-59\" rel=\"noopener\" target=\"_blank\">died unexpectedly\u003c/a> in February, appears in the documentary as well.) And it all started with that day inside San Quentin, over 25 years ago.\u003c/p>\n\u003cp>“Even when you know that they’re going to let you out, when that door closes behind you, it is one cold feeling,” says McNally today.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But at least for a day, there was a light in the middle of their dark, regular days. They felt it. And the audience in the chapel was just seized by the moment and the music.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13853019/the-time-the-grateful-dead-organized-a-gospel-concert-at-san-quentin",
"authors": [
"185"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_1845",
"arts_596",
"arts_1526",
"arts_1985"
],
"featImg": "arts_13852742",
"label": "arts"
},
"arts_13852981": {
"type": "posts",
"id": "arts_13852981",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13852981",
"score": null,
"sort": [
1552741217000
]
},
"guestAuthors": [],
"slug": "does-silicon-valley-need-an-instagramable-icon",
"title": "Does Silicon Valley Need an Instagramable Icon?",
"publishDate": 1552741217,
"format": "audio",
"headTitle": "Does Silicon Valley Need an Instagramable Icon? | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Hollywood has the Hollywood Sign. San Francisco has the Golden Gate Bridge.\u003cspan class=\"Apple-converted-space\"> \u003c/span>But there’s no one iconic visual the world recognizes as embodying Silicon Valley. \u003ci>\u003c/i>\u003c/p>\n\u003cp>The garage in Palo Alto where Hewlett Packard began? Too humble, visually speaking.\u003c/p>\n\u003cp>How about Apple’s snazzy new\u003cspan class=\"Apple-converted-space\"> corporate headquarters\u003c/span> in Cupertino? Too corporate, and frankly, a little chilling in this dystopian era of Big Tech choking the San Francisco Bay Area with traffic and rising real estate prices.\u003c/p>\n\u003cp>The Electric Light Tower, a commanding if spindly precursor to the Eiffel Tower championed by the \u003ca href=\"http://www.sanjoselighttower.org\" target=\"_blank\" rel=\"noopener\">San Jose Light Tower Corporation\u003c/a> was inspiring in its day, but a modern version would likely prove more of a nostalgic nod to times past than a cohesive symbol of what we are today.\u003c/p>\n\u003cp>There’s really no one visual that says “Silicon Valley.” Or “South Bay.”\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What are people going to Instagram when they come to San Jose and Silicon Valley?” asks \u003ca href=\"https://www.mercurynews.com/author/sal-pizarro/\" target=\"_blank\" rel=\"noopener\">Sal Pizarro\u003c/a>, Around Town columnist with the \u003ci>Mercury News\u003c/i>. One might argue the region doesn’t need an icon if one hasn’t organically emerged by now.\u003c/p>\n\u003cp>But Pizarro says a \u003ca href=\"https://sanjose.legistar.com/LegislationDetail.aspx?ID=3871636&GUID=6E11BF0F-5D33-4866-80BE-0811F12A3BEC&Options=&Search=\" target=\"_blank\" rel=\"noopener\">new design competition\u003c/a> in San Jose — and the patronizing coverage that followed from various publications led by the \u003ca href=\"https://www.nytimes.com/2019/03/09/technology/silicon-valley-monument-landmark.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a> this past week — indicates that, perhaps, we do.\u003c/p>\n\u003cfigure id=\"attachment_13853000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-800x646.png\" alt=\"The Electric Light Tower was proposed by the publisher of the San Jose Mercury, the precursor of the Mercury News. In 1881, the tower was a pioneering use of electricity for municipal purposes. \" width=\"800\" height=\"646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-800x646.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-160x129.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-768x620.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-1020x824.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-1200x970.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM.png 1260w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Electric Light Tower was proposed by the publisher of the San Jose Mercury, the precursor of the Mercury News. In 1881, the tower was a pioneering use of electricity for municipal purposes. \u003ccite>(Photo: Courtesy of San Jose State University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We do have a problem identifying who we are,” Pizarro acknowledges. “I think we’ve got a great culture, and a great arts scene here, and we have some really wonderful things to do. But when someone comes from out of town, it’s hard to say, ‘We have great Vietnamese restaurants. Take a picture in front of them.’”\u003c/p>\n\u003cp>That works for me. How \u003ci>about\u003c/i> a giant bowl of pho?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>Why is it so hard to come up with one idea everyone can get behind?\u003c/p>\n\u003cp>For one thing, there’s a problem conflating San Jose with Silicon Valley. The two aren’t the same thing. Also, there is no disputing in matters of taste.\u003c/p>\n\u003cdiv class=\"page\" title=\"Page 18\">\n\u003cdiv class=\"section\">\n\u003cdiv class=\"layoutArea\">\n\u003cdiv class=\"column\">\n\u003cp>The San Jose Light Tower Corporation’s plan is to hold an international competition to solicit concepts for a “world-class iconic landmark” tentatively intended for Guadalupe River Park at Arena Green.\u003c/p>\n\u003cdiv class=\"page\" title=\"Page 2\">\n\u003cdiv class=\"layoutArea\">\n\u003cdiv class=\"column\">\n\u003cp>Three finalists chosen by a seven-member jury will be awarded a monetary stipend to develop their ideas for further review and selection of the final design. Sometime in early 2020, the nonprofit will return to the San Jose City Council with a recommendation and seek authorization to proceed with design and development.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_13853002\" class=\"wp-caption aligncenter\" style=\"max-width: 747px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13853002\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/giphy.gif\" alt='How HBO cracked the nut for its \"Silicon Valley\" show open.' width=\"747\" height=\"419\">\u003cfigcaption class=\"wp-caption-text\">How HBO cracked the nut for its “Silicon Valley” show open. \u003ccite>(Photo: Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m confident that no matter how good the design, it will not work for everyone,” says San Jose Mayor Sam Liccardo. “There will be someone who has a reason to object. But that’s OK. We don’t need unanimity to move forward with something that is compelling, and hopefully inspiring.”\u003c/p>\n\u003cp>Yes, he has an idea to submit for the contest, and no, he’s not going to share it with us at this time. “Hell, no! I want it to win!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"blocks": [],
"excerpt": "There’s really no single visual that says 'Silicon Valley.' Or 'South Bay.' Is that a problem? Yes, to some.",
"status": "publish",
"parent": 0,
"modified": 1726767193,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 601
},
"headData": {
"title": "Does Silicon Valley Need an Instagramable Icon? | KQED",
"description": "There’s really no single visual that says 'Silicon Valley.' Or 'South Bay.' Is that a problem? Yes, to some.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Does Silicon Valley Need an Instagramable Icon?",
"datePublished": "2019-03-16T06:00:17-07:00",
"dateModified": "2024-09-19T10:33:13-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2019/03/SiliconValleySymbol.mp3",
"sticky": false,
"audioTrackLength": 116,
"path": "/arts/13852981/does-silicon-valley-need-an-instagramable-icon",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood has the Hollywood Sign. San Francisco has the Golden Gate Bridge.\u003cspan class=\"Apple-converted-space\"> \u003c/span>But there’s no one iconic visual the world recognizes as embodying Silicon Valley. \u003ci>\u003c/i>\u003c/p>\n\u003cp>The garage in Palo Alto where Hewlett Packard began? Too humble, visually speaking.\u003c/p>\n\u003cp>How about Apple’s snazzy new\u003cspan class=\"Apple-converted-space\"> corporate headquarters\u003c/span> in Cupertino? Too corporate, and frankly, a little chilling in this dystopian era of Big Tech choking the San Francisco Bay Area with traffic and rising real estate prices.\u003c/p>\n\u003cp>The Electric Light Tower, a commanding if spindly precursor to the Eiffel Tower championed by the \u003ca href=\"http://www.sanjoselighttower.org\" target=\"_blank\" rel=\"noopener\">San Jose Light Tower Corporation\u003c/a> was inspiring in its day, but a modern version would likely prove more of a nostalgic nod to times past than a cohesive symbol of what we are today.\u003c/p>\n\u003cp>There’s really no one visual that says “Silicon Valley.” Or “South Bay.”\u003cspan class=\"Apple-converted-space\"> \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>“What are people going to Instagram when they come to San Jose and Silicon Valley?” asks \u003ca href=\"https://www.mercurynews.com/author/sal-pizarro/\" target=\"_blank\" rel=\"noopener\">Sal Pizarro\u003c/a>, Around Town columnist with the \u003ci>Mercury News\u003c/i>. One might argue the region doesn’t need an icon if one hasn’t organically emerged by now.\u003c/p>\n\u003cp>But Pizarro says a \u003ca href=\"https://sanjose.legistar.com/LegislationDetail.aspx?ID=3871636&GUID=6E11BF0F-5D33-4866-80BE-0811F12A3BEC&Options=&Search=\" target=\"_blank\" rel=\"noopener\">new design competition\u003c/a> in San Jose — and the patronizing coverage that followed from various publications led by the \u003ca href=\"https://www.nytimes.com/2019/03/09/technology/silicon-valley-monument-landmark.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a> this past week — indicates that, perhaps, we do.\u003c/p>\n\u003cfigure id=\"attachment_13853000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-800x646.png\" alt=\"The Electric Light Tower was proposed by the publisher of the San Jose Mercury, the precursor of the Mercury News. In 1881, the tower was a pioneering use of electricity for municipal purposes. \" width=\"800\" height=\"646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-800x646.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-160x129.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-768x620.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-1020x824.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-1200x970.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM.png 1260w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Electric Light Tower was proposed by the publisher of the San Jose Mercury, the precursor of the Mercury News. In 1881, the tower was a pioneering use of electricity for municipal purposes. \u003ccite>(Photo: Courtesy of San Jose State University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We do have a problem identifying who we are,” Pizarro acknowledges. “I think we’ve got a great culture, and a great arts scene here, and we have some really wonderful things to do. But when someone comes from out of town, it’s hard to say, ‘We have great Vietnamese restaurants. Take a picture in front of them.’”\u003c/p>\n\u003cp>That works for me. How \u003ci>about\u003c/i> a giant bowl of pho?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>Why is it so hard to come up with one idea everyone can get behind?\u003c/p>\n\u003cp>For one thing, there’s a problem conflating San Jose with Silicon Valley. The two aren’t the same thing. Also, there is no disputing in matters of taste.\u003c/p>\n\u003cdiv class=\"page\" title=\"Page 18\">\n\u003cdiv class=\"section\">\n\u003cdiv class=\"layoutArea\">\n\u003cdiv class=\"column\">\n\u003cp>The San Jose Light Tower Corporation’s plan is to hold an international competition to solicit concepts for a “world-class iconic landmark” tentatively intended for Guadalupe River Park at Arena Green.\u003c/p>\n\u003cdiv class=\"page\" title=\"Page 2\">\n\u003cdiv class=\"layoutArea\">\n\u003cdiv class=\"column\">\n\u003cp>Three finalists chosen by a seven-member jury will be awarded a monetary stipend to develop their ideas for further review and selection of the final design. Sometime in early 2020, the nonprofit will return to the San Jose City Council with a recommendation and seek authorization to proceed with design and development.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_13853002\" class=\"wp-caption aligncenter\" style=\"max-width: 747px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13853002\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/giphy.gif\" alt='How HBO cracked the nut for its \"Silicon Valley\" show open.' width=\"747\" height=\"419\">\u003cfigcaption class=\"wp-caption-text\">How HBO cracked the nut for its “Silicon Valley” show open. \u003ccite>(Photo: Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m confident that no matter how good the design, it will not work for everyone,” says San Jose Mayor Sam Liccardo. “There will be someone who has a reason to object. But that’s OK. We don’t need unanimity to move forward with something that is compelling, and hopefully inspiring.”\u003c/p>\n\u003cp>Yes, he has an idea to submit for the contest, and no, he’s not going to share it with us at this time. “Hell, no! I want it to win!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13852981/does-silicon-valley-need-an-instagramable-icon",
"authors": [
"251"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_6902",
"arts_1118",
"arts_596",
"arts_1315",
"arts_1084",
"arts_3001"
],
"featImg": "arts_13829861",
"label": "arts"
},
"arts_13853056": {
"type": "posts",
"id": "arts_13853056",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13853056",
"score": null,
"sort": [
1552685696000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1552685696,
"format": "standard",
"title": "W.S. Merwin, Prize-Winning Poet of Nature, Dies at 91",
"headTitle": "W.S. Merwin, Prize-Winning Poet of Nature, Dies at 91 | KQED",
"content": "\u003cp>W.S. Merwin, a prolific and versatile poetry master who evolved through a wide range of styles as he celebrated nature, condemned war and industrialism and reached for the elusive past, died Friday. He was 91.\u003c/p>\n\u003cp>A Pulitzer Prize winner and former U.S. poet laureate, Merwin completed more than 20 books, from early works inspired by myths and legends to fiery protests against environmental destruction and the conflict in Vietnam to late meditations on age and time.\u003c/p>\n\u003cp>He wrote rhymes and blank verse, a brief report on the month of January and a book-length story in verse about colonialism and the birth of modern Hawaii. Like his hero, Henry David Thoreau, he was inspired equally by reverence for the planet and anger against injustice.\u003c/p>\n\u003cp>He died in his sleep at his home on the Hawaiian island of Maui, according to publisher Copper Canyon Press and the Merwin Conservancy, which the poet founded.\u003c/p>\n\u003cp>“He is an artist with a very clear spiritual profile, and intellectual and moral consistency, which encompasses both his work and his life,” fellow poet Edward Hirsch once said of him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Merwin received virtually every honor a poet could ask for — more, it turned out, than he desired.\u003c/p>\n\u003cp>Citing the Vietnam War, he declined a Pulitzer in 1971 for “The Carrier of Ladders,” saying that he was “too conscious of being an American to accept public congratulation with good grace, or to welcome it except as an occasion for expressing openly a shame which many Americans feel.”\u003c/p>\n\u003cp>He also rejected membership in the National Institute of Arts and Letters, now the American Academy of Arts and Letters, but changed his mind five years later, in 1977.\u003c/p>\n\u003cp>Among other awards he accepted: a National Book Award for “Migration” in 2005, a Pulitzer in 2009 for “The Shadow of Sirius,” and such lifetime achievement honors as the Tanning Prize, the Bollingen Prize and a gold medal from the arts academy. He was chosen the country’s poet laureate in 2010 and served a single one-year term.\u003c/p>\n\u003cp>The changes in his work were no more dramatic than the changes in his life, which spanned continents and religious faiths. The son of a Presbyterian minister, he was raised in the urban East during the Great Depression, spent years as a young man in France, Mexico, Spain and England and lived his final decades as a Buddhist in a solar-powered house he designed on an old pineapple plantation, surrounded by a rain forest, on the northeast coast of Maui.\u003c/p>\n\u003cp>“There was something incomplete about the world of streets and sidewalks and cement,” he told the Paris Review in 1986. “I remember walking in the streets of New York and New Jersey and telling myself, as a kind of reassurance, that the ground was really under there.”\u003c/p>\n\u003cp>William Stanley Merwin was born in New York City in 1927. He soon moved to Union City, New Jersey, living for years on a street now called “W.S. Merwin Way,” then to Scranton, Pennsylvania.\u003c/p>\n\u003cp>In a long, autobiographical poem, “Testimony,” he remembered his father as a weary, disappointed man, subsisting on “pinched salaries” and “traveling sick with some nameless illuminating ill.” His mother was orphaned early in life and grieved again when her baby, a boy she meant to name after her father, died “when he had scarcely wakened.”\u003c/p>\n\u003cp>In a household as grim as an abandoned parking lot, the way out was pointed by words, which seemed to float around Merwin like magic bubbles. He would try to memorize scripture he heard his father recite and fairy tales his mother toll him. By age 13, he was already composing hymns.\u003c/p>\n\u003cp>He received a scholarship from Princeton University, becoming the first family member to attend college, and began meeting some of the great poets of the present and future. Galway Kinnell was a classmate at Princeton, and John Berryman a teacher.\u003c/p>\n\u003cp>After graduating, he lived in Spain and tutored the son of Robert Graves. In London, he became close with Sylvia Plath and Ted Hughes and was torn by the collapse of their marriage. Merwin’s then-wife, Dido Merwin, would allege that Plath had a crush on him.\u003c/p>\n\u003cp>In Washington, D.C., when he was 18, Merwin had a memorable encounter with Ezra Pound, whom he visited at a psychiatric hospital. Pound urged Merwin to write 75 lines a day (advice he did not follow), warned him he didn’t have enough experience to write great poetry and advised him to learn another language as a way of better mastering English. Merwin would translate more than 20 books by other poets, from languages ranging from Sanskrit to Swedish.\u003c/p>\n\u003cp>Merwin’s promise was obvious. His first collection, “A Mask for Janus,” was selected by W.H. Auden for the coveted Yale Series of Younger Poets competition and was published in 1952. Throughout the 1950s, he wrote poems and plays, including a verse production of “Rumpelstiltskin.”\u003c/p>\n\u003cp>Times spent in Boston with Robert Lowell convinced him to concentrate on poetry, and by the end of the decade, he was regarded as a highly talented artist immersed in Old English literature, his verse likened by The New York Times to “a broad river flowing through peaceful land.”\u003c/p>\n\u003cp>Peace — the flow of the natural world — was a cause he actively defended. Near the end of World War II, he spent seven months under psychiatric care because he refused to undergo any duties that might lead to violence, which he had feared since the days his father would beat him.\u003c/p>\n\u003cp>By the early 1960s, he was marching against nuclear weapons and throwing off the rules of grammar as if they were a suit and tie, inspired by his “growing sense that punctuation alluded to an assumed allegiance to the rational protocol of written language.”\u003c/p>\n\u003cp>Meanwhile, Vietnam and urbanization darkened his vision. “I/can hear the blood crawling over the plains,” he wrote in “The Child.” In “The Crust,” the downfall of a tree is a metaphor for the severing of civilization:\u003c/p>\n\u003cblockquote>\u003cp>\nand with the tree\u003c/p>\n\u003cp>went all the lives in it\u003c/p>\n\u003cp>that slept in it ate in it\u003c/p>\n\u003cp>met in it believed in it\u003c/p>\u003c/blockquote>\n\u003cp>Merwin examined his own mind in “Plane” and found it “infinitely divided and hopeless/like a stockyard seen from above.” His poem “Presidents” was a roll call of dishonor, for “the president of shame,” ″the president of lies” and the “president of loyalty,” who “recommends blindness to the blind.” In “Sunset After Rain,” he concluded that “The darkness is cold/because the stars do not believe in each other.”\u003c/p>\n\u003cp>In the 1970s, he settled permanently in Hawaii and studied under the Zen Buddhist master Robert Aitken. Divorced years earlier from Dorothy Jeanne Ferry and from Dido Milroy, he married his third wife, Paula Schwartz, in a Buddhist ceremony in 1983. Paula died in 2017.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Merwin’s work became sparer, rooted in the Hawaiian landscape and his personal past — how it’s often forgotten, how it’s never understood at the moment it’s lived, how words themselves were imperfect bridges to lost time.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1252,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 31
},
"modified": 1705026481,
"excerpt": "The Pulitzer Prize winner and former U.S. poet laureate died in his sleep in Hawaii.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Pulitzer Prize winner and former U.S. poet laureate died in his sleep in Hawaii.",
"title": "W.S. Merwin, Prize-Winning Poet of Nature, Dies at 91 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "W.S. Merwin, Prize-Winning Poet of Nature, Dies at 91",
"datePublished": "2019-03-15T14:34:56-07:00",
"dateModified": "2024-01-11T18:28:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "w-s-merwin-prize-winning-poet-of-nature-dies-at-91",
"status": "publish",
"nprByline": "JENNIFER KELLEHER and HILLEL ITALIE, Associated Press",
"sticky": false,
"path": "/arts/13853056/w-s-merwin-prize-winning-poet-of-nature-dies-at-91",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>W.S. Merwin, a prolific and versatile poetry master who evolved through a wide range of styles as he celebrated nature, condemned war and industrialism and reached for the elusive past, died Friday. He was 91.\u003c/p>\n\u003cp>A Pulitzer Prize winner and former U.S. poet laureate, Merwin completed more than 20 books, from early works inspired by myths and legends to fiery protests against environmental destruction and the conflict in Vietnam to late meditations on age and time.\u003c/p>\n\u003cp>He wrote rhymes and blank verse, a brief report on the month of January and a book-length story in verse about colonialism and the birth of modern Hawaii. Like his hero, Henry David Thoreau, he was inspired equally by reverence for the planet and anger against injustice.\u003c/p>\n\u003cp>He died in his sleep at his home on the Hawaiian island of Maui, according to publisher Copper Canyon Press and the Merwin Conservancy, which the poet founded.\u003c/p>\n\u003cp>“He is an artist with a very clear spiritual profile, and intellectual and moral consistency, which encompasses both his work and his life,” fellow poet Edward Hirsch once said of him.\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>Merwin received virtually every honor a poet could ask for — more, it turned out, than he desired.\u003c/p>\n\u003cp>Citing the Vietnam War, he declined a Pulitzer in 1971 for “The Carrier of Ladders,” saying that he was “too conscious of being an American to accept public congratulation with good grace, or to welcome it except as an occasion for expressing openly a shame which many Americans feel.”\u003c/p>\n\u003cp>He also rejected membership in the National Institute of Arts and Letters, now the American Academy of Arts and Letters, but changed his mind five years later, in 1977.\u003c/p>\n\u003cp>Among other awards he accepted: a National Book Award for “Migration” in 2005, a Pulitzer in 2009 for “The Shadow of Sirius,” and such lifetime achievement honors as the Tanning Prize, the Bollingen Prize and a gold medal from the arts academy. He was chosen the country’s poet laureate in 2010 and served a single one-year term.\u003c/p>\n\u003cp>The changes in his work were no more dramatic than the changes in his life, which spanned continents and religious faiths. The son of a Presbyterian minister, he was raised in the urban East during the Great Depression, spent years as a young man in France, Mexico, Spain and England and lived his final decades as a Buddhist in a solar-powered house he designed on an old pineapple plantation, surrounded by a rain forest, on the northeast coast of Maui.\u003c/p>\n\u003cp>“There was something incomplete about the world of streets and sidewalks and cement,” he told the Paris Review in 1986. “I remember walking in the streets of New York and New Jersey and telling myself, as a kind of reassurance, that the ground was really under there.”\u003c/p>\n\u003cp>William Stanley Merwin was born in New York City in 1927. He soon moved to Union City, New Jersey, living for years on a street now called “W.S. Merwin Way,” then to Scranton, Pennsylvania.\u003c/p>\n\u003cp>In a long, autobiographical poem, “Testimony,” he remembered his father as a weary, disappointed man, subsisting on “pinched salaries” and “traveling sick with some nameless illuminating ill.” His mother was orphaned early in life and grieved again when her baby, a boy she meant to name after her father, died “when he had scarcely wakened.”\u003c/p>\n\u003cp>In a household as grim as an abandoned parking lot, the way out was pointed by words, which seemed to float around Merwin like magic bubbles. He would try to memorize scripture he heard his father recite and fairy tales his mother toll him. By age 13, he was already composing hymns.\u003c/p>\n\u003cp>He received a scholarship from Princeton University, becoming the first family member to attend college, and began meeting some of the great poets of the present and future. Galway Kinnell was a classmate at Princeton, and John Berryman a teacher.\u003c/p>\n\u003cp>After graduating, he lived in Spain and tutored the son of Robert Graves. In London, he became close with Sylvia Plath and Ted Hughes and was torn by the collapse of their marriage. Merwin’s then-wife, Dido Merwin, would allege that Plath had a crush on him.\u003c/p>\n\u003cp>In Washington, D.C., when he was 18, Merwin had a memorable encounter with Ezra Pound, whom he visited at a psychiatric hospital. Pound urged Merwin to write 75 lines a day (advice he did not follow), warned him he didn’t have enough experience to write great poetry and advised him to learn another language as a way of better mastering English. Merwin would translate more than 20 books by other poets, from languages ranging from Sanskrit to Swedish.\u003c/p>\n\u003cp>Merwin’s promise was obvious. His first collection, “A Mask for Janus,” was selected by W.H. Auden for the coveted Yale Series of Younger Poets competition and was published in 1952. Throughout the 1950s, he wrote poems and plays, including a verse production of “Rumpelstiltskin.”\u003c/p>\n\u003cp>Times spent in Boston with Robert Lowell convinced him to concentrate on poetry, and by the end of the decade, he was regarded as a highly talented artist immersed in Old English literature, his verse likened by The New York Times to “a broad river flowing through peaceful land.”\u003c/p>\n\u003cp>Peace — the flow of the natural world — was a cause he actively defended. Near the end of World War II, he spent seven months under psychiatric care because he refused to undergo any duties that might lead to violence, which he had feared since the days his father would beat him.\u003c/p>\n\u003cp>By the early 1960s, he was marching against nuclear weapons and throwing off the rules of grammar as if they were a suit and tie, inspired by his “growing sense that punctuation alluded to an assumed allegiance to the rational protocol of written language.”\u003c/p>\n\u003cp>Meanwhile, Vietnam and urbanization darkened his vision. “I/can hear the blood crawling over the plains,” he wrote in “The Child.” In “The Crust,” the downfall of a tree is a metaphor for the severing of civilization:\u003c/p>\n\u003cblockquote>\u003cp>\nand with the tree\u003c/p>\n\u003cp>went all the lives in it\u003c/p>\n\u003cp>that slept in it ate in it\u003c/p>\n\u003cp>met in it believed in it\u003c/p>\u003c/blockquote>\n\u003cp>Merwin examined his own mind in “Plane” and found it “infinitely divided and hopeless/like a stockyard seen from above.” His poem “Presidents” was a roll call of dishonor, for “the president of shame,” ″the president of lies” and the “president of loyalty,” who “recommends blindness to the blind.” In “Sunset After Rain,” he concluded that “The darkness is cold/because the stars do not believe in each other.”\u003c/p>\n\u003cp>In the 1970s, he settled permanently in Hawaii and studied under the Zen Buddhist master Robert Aitken. Divorced years earlier from Dorothy Jeanne Ferry and from Dido Milroy, he married his third wife, Paula Schwartz, in a Buddhist ceremony in 1983. Paula died in 2017.\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>Merwin’s work became sparer, rooted in the Hawaiian landscape and his personal past — how it’s often forgotten, how it’s never understood at the moment it’s lived, how words themselves were imperfect bridges to lost time.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13853056/w-s-merwin-prize-winning-poet-of-nature-dies-at-91",
"authors": [
"byline_arts_13853056"
],
"categories": [
"arts_73",
"arts_235"
],
"tags": [
"arts_596",
"arts_1496"
],
"featImg": "arts_13853058",
"label": "arts"
},
"arts_13852729": {
"type": "posts",
"id": "arts_13852729",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13852729",
"score": null,
"sort": [
1552608042000
]
},
"guestAuthors": [],
"slug": "charles-schulzs-letter-about-democracy-discovered-50-years-later",
"title": "Charles Schulz's Letter About Democracy, Discovered 50 Years Later",
"publishDate": 1552608042,
"format": "audio",
"headTitle": "Charles Schulz’s Letter About Democracy, Discovered 50 Years Later | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>In 1970, students in a fifth-grade class at Hawthorne School in Beverly Hills were assigned to write a letter to someone they admired, asking them “What makes a good citizen?”\u003c/p>\n\u003cp>Joel Lipton, 10 years old at the time, wrote to \u003cem>Peanuts\u003c/em> cartoonist Charles Schulz.\u003c/p>\n\u003cp>Fast-forward to this past February, when Lipton and his wife were cleaning out their closet. “And she pulled out a box and started going through some photos,” Lipton says today. “And between some old photos was this letter. I said, ‘Oh, wow, there’s the Charles Schulz letter!'”\u003c/p>\n\u003cp>Lipton remembers getting a response from the famed cartoonist, typed on official stationery from his Sebastopol studio, and hanging it on his bedroom wall with thumbtacks. But he was amazed when he re-read Schulz’s letter almost 50 years later, and realized how prescient it was.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Charles-Schulz-Letter1-800x894.jpg\" alt=\"\" width=\"800\" height=\"894\" class=\"aligncenter size-medium wp-image-13852282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Charles-Schulz-Letter1-800x894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Charles-Schulz-Letter1-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Charles-Schulz-Letter1-768x858.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Charles-Schulz-Letter1-1020x1140.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Charles-Schulz-Letter1-1074x1200.jpg 1074w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Charles-Schulz-Letter1-1920x2145.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Charles-Schulz-Letter1.jpg 1833w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Dear Joel,” the letter reads. “I think it is more difficult these days to define what makes a good citizen then it has ever been before. Certainly all any of us can do is follow our own conscience and retain faith in our democracy. Sometimes it is the very people who cry out the loudest in favor of getting back to what they call ‘American Virtues’ who lack this faith in our country. I believe that our greatest strength lies always in the protection of our smallest minorities. Sincerely yours, Charles M. Schulz.”\u003c/p>\n\u003cp>“I’m sure it went way over my head as a kid, what he said in the letter,” Lipton tells me. “But I think now, in the time we’re living in politically, in this country… what he said about the people who hide behind American virtues, and about protecting our smallest minorities, I knew that could speak to a lot of people. To see that this came from this man, 50 years ago, and how important those words are today.”\u003c/p>\n\u003cp>[aside label=\"More Charles Schulz\" link1=\"https://www.kqed.org/pop/104864/happy-birthday-franklin-peanuts-first-black-character-turns-50,'Peanuts' First Black Character Turns 50\" link2=\"https://www.kqed.org/arts/11123074/a-charlie-brown-christmas-turns-50-network-celebrates,'A Charlie Brown Christmas' Turns 50\"]\u003c/p>\n\u003cp>Lipton posted the letter on Facebook, and before he knew it, it spread widely. At press time, it’s been shared over 12,000 times. \u003c/p>\n\u003cp>One of the many people who came across the letter is Jean Schulz, widow of Charles “Sparky” Schulz. “I continually find comic strips that could have been written for today’s audience,” Jean \u003ca href=\"https://schulzmuseum.org/the-circle-continues/\" rel=\"noopener noreferrer\" target=\"_blank\">wrote\u003c/a> upon learning of the letter. \u003c/p>\n\u003cp>But a letter to a fan about the complexity of democracy—was that normal? While talking to me on the phone, Jean Schulz acknowledges that it is, in fact, relatively special.\u003c/p>\n\u003cp>“I couldn’t believe it,” she says. “We get a lot of people who will tell us that they wrote to Sparky and Sparky answered. But this one… the answer, it could have been written today.”\u003c/p>\n\u003cp>Jean adds that it’s rare to find Schulz answering a fan so thoroughly. Most letters were routine, cordial responses. “This says what needs to be said now,” she adds.\u003c/p>\n\u003cp>As for Lipton, he’s donated hi-res scans to the \u003ca href=\"https://schulzmuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Schulz Museum and Research Center\u003c/a> in Santa Rosa, and is glad that a piece of paper he kept for so long has resonated so widely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m kind of shocked at what’s happened with this letter,” Lipton says. “I’m amazed, and surprised, and thrilled that it’s gotten this kind of attention.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "\"I believe that our greatest strength lies always in the protection of our smallest minorities,\" wrote the 'Peanuts' creator in 1970.",
"status": "publish",
"parent": 0,
"modified": 1755012516,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 638
},
"headData": {
"title": "Charles Schulz's Letter About Democracy, Discovered 50 Years Later | KQED",
"description": ""I believe that our greatest strength lies always in the protection of our smallest minorities," wrote the 'Peanuts' creator in 1970.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Charles Schulz's Letter About Democracy, Discovered 50 Years Later",
"datePublished": "2019-03-14T17:00:42-07:00",
"dateModified": "2025-08-12T08:28:36-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/tcrmag/2019/03/PeanutsLetterMeline.mp3",
"sticky": false,
"audioTrackLength": 280,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13852729/charles-schulzs-letter-about-democracy-discovered-50-years-later",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1970, students in a fifth-grade class at Hawthorne School in Beverly Hills were assigned to write a letter to someone they admired, asking them “What makes a good citizen?”\u003c/p>\n\u003cp>Joel Lipton, 10 years old at the time, wrote to \u003cem>Peanuts\u003c/em> cartoonist Charles Schulz.\u003c/p>\n\u003cp>Fast-forward to this past February, when Lipton and his wife were cleaning out their closet. “And she pulled out a box and started going through some photos,” Lipton says today. “And between some old photos was this letter. I said, ‘Oh, wow, there’s the Charles Schulz letter!'”\u003c/p>\n\u003cp>Lipton remembers getting a response from the famed cartoonist, typed on official stationery from his Sebastopol studio, and hanging it on his bedroom wall with thumbtacks. But he was amazed when he re-read Schulz’s letter almost 50 years later, and realized how prescient it was.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Charles-Schulz-Letter1-800x894.jpg\" alt=\"\" width=\"800\" height=\"894\" class=\"aligncenter size-medium wp-image-13852282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Charles-Schulz-Letter1-800x894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Charles-Schulz-Letter1-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Charles-Schulz-Letter1-768x858.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Charles-Schulz-Letter1-1020x1140.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Charles-Schulz-Letter1-1074x1200.jpg 1074w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Charles-Schulz-Letter1-1920x2145.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Charles-Schulz-Letter1.jpg 1833w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\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>“Dear Joel,” the letter reads. “I think it is more difficult these days to define what makes a good citizen then it has ever been before. Certainly all any of us can do is follow our own conscience and retain faith in our democracy. Sometimes it is the very people who cry out the loudest in favor of getting back to what they call ‘American Virtues’ who lack this faith in our country. I believe that our greatest strength lies always in the protection of our smallest minorities. Sincerely yours, Charles M. Schulz.”\u003c/p>\n\u003cp>“I’m sure it went way over my head as a kid, what he said in the letter,” Lipton tells me. “But I think now, in the time we’re living in politically, in this country… what he said about the people who hide behind American virtues, and about protecting our smallest minorities, I knew that could speak to a lot of people. To see that this came from this man, 50 years ago, and how important those words are today.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"label": "More Charles Schulz ",
"link1": "https://www.kqed.org/pop/104864/happy-birthday-franklin-peanuts-first-black-character-turns-50,'Peanuts' First Black Character Turns 50",
"link2": "https://www.kqed.org/arts/11123074/a-charlie-brown-christmas-turns-50-network-celebrates,'A Charlie Brown Christmas' Turns 50"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lipton posted the letter on Facebook, and before he knew it, it spread widely. At press time, it’s been shared over 12,000 times. \u003c/p>\n\u003cp>One of the many people who came across the letter is Jean Schulz, widow of Charles “Sparky” Schulz. “I continually find comic strips that could have been written for today’s audience,” Jean \u003ca href=\"https://schulzmuseum.org/the-circle-continues/\" rel=\"noopener noreferrer\" target=\"_blank\">wrote\u003c/a> upon learning of the letter. \u003c/p>\n\u003cp>But a letter to a fan about the complexity of democracy—was that normal? While talking to me on the phone, Jean Schulz acknowledges that it is, in fact, relatively special.\u003c/p>\n\u003cp>“I couldn’t believe it,” she says. “We get a lot of people who will tell us that they wrote to Sparky and Sparky answered. But this one… the answer, it could have been written today.”\u003c/p>\n\u003cp>Jean adds that it’s rare to find Schulz answering a fan so thoroughly. Most letters were routine, cordial responses. “This says what needs to be said now,” she adds.\u003c/p>\n\u003cp>As for Lipton, he’s donated hi-res scans to the \u003ca href=\"https://schulzmuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Schulz Museum and Research Center\u003c/a> in Santa Rosa, and is glad that a piece of paper he kept for so long has resonated so widely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m kind of shocked at what’s happened with this letter,” Lipton says. “I’m amazed, and surprised, and thrilled that it’s gotten this kind of attention.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13852729/charles-schulzs-letter-about-democracy-discovered-50-years-later",
"authors": [
"185"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_22253",
"arts_1942",
"arts_1118",
"arts_3648",
"arts_596",
"arts_22254"
],
"featImg": "arts_13852732",
"label": "arts"
},
"arts_13852882": {
"type": "posts",
"id": "arts_13852882",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13852882",
"score": null,
"sort": [
1552575620000
]
},
"guestAuthors": [],
"slug": "artists-today-at-apple-unpaid-exposure-money",
"title": "Apple Isn't Paying Artists Who Perform at Its Stores",
"publishDate": 1552575620,
"format": "image",
"headTitle": "Apple Isn’t Paying Artists Who Perform at Its Stores | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">As tourists bustled across San Francisco’s Union Square on a crisp evening this past February, the flagship Apple store became the unlikely site of an intergenerational conversation about racial justice.\u003c/span>\u003c/p>\n\u003cp>For a Black History Month installment of the event series \u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Oakland playwright \u003ca href=\"http://www.ayodelenzinga.com/\" target=\"_blank\" rel=\"noopener\">Ayodele Nzinga\u003c/a> and a handful of other artists read spoken-word poetry and discussed Oakland’s musical history. Roughly two dozen friends and family members gathered around, and shoppers passively listened as they played with Apple gadgets.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The art was an economic driver,” Nzinga said at one point, describing the resilience of Oakland’s African-American community amid systemic racism. “It was a way to take yourself out of poverty, or at least maintain.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And yet, Apple didn’t pay any of the artists who performed or spoke that night—at least not in cash, Nzinga says. Instead, they were given Apple products. [aside postID='arts_13853392']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nzinga isn’t the only local artist Apple has booked for their \u003c/span>\u003ca href=\"https://www.apple.com/today/unionsquare/\" target=\"_blank\" rel=\"noopener\">\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> sessions in San Francisco without paying a flat fee. The event series has taken place at Apple stores across the country since 2017, and is marketed as an opportunity for customers to hear from “\u003ca href=\"https://www.apple.com/newsroom/2019/01/apple-announces-new-today-at-apple-sessions/\" target=\"_blank\" rel=\"noopener\">world-class creators\u003c/a>.” Eleven artists with whom KQED spoke, either on the record or on background, confirmed that Apple didn’t offer monetary compensation for performances, panels and workshops, instead paying them in their choice of an Apple Watch Series 3, AirPods or an Apple TV. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At a time when Apple and other tech giants are \u003ca href=\"https://www.businessinsider.com/apple-releases-2017-diversity-report-showing-little-progress-2017-11\" target=\"_blank\" rel=\"noopener\">under scrutiny for a lack of staff diversity\u003c/a>, experts say that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">‘\u003c/span>\u003cspan style=\"font-weight: 400\">s roster of local artists lends the company a \u003ca href=\"https://www.engadget.com/2018/09/12/apple-diversity-iphone-xs-camera-photos-event/\" target=\"_blank\" rel=\"noopener\">valuable, socially responsible image\u003c/a> while preserving their status quo, and at virtually no cost. Though some of the interviewees for this story expressed gratitude for the chance to work with a powerful brand, several came away from the experience questioning why Apple—the world’s largest company by market value, with a revenue of $265.6 billion in 2018 alone—was unable to pay them for their labor.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In talking with more than a dozen people about \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">‘\u003c/span>\u003cspan style=\"font-weight: 400\">s model, a nuanced portrait emerges of the artist’s dilemma in the Bay Area. Apple’s event programming thrives in a climate where artists are pressured to work for exposure, making it difficult to negotiate fair pay. While some interviewees were directly critical of being paid in merchandise instead of cash, others were hesitant to go on the record about Apple for fear of souring their relationship with the company. Meanwhile, experts maintain that a work-for-trade arrangement with a corporation as large and profitable as Apple reinforces a power dynamic that keeps artists at a disadvantage. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Representatives from Apple declined KQED’s multiple requests for comment.\u003c/span>\u003c/p>\n\u003ch2>‘No return’ for artists\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Victor Valle, founder of the creative agency \u003ca href=\"https://counterculture.group/\" target=\"_blank\" rel=\"noopener\">Counter Culture Group\u003c/a>, says two artists he manages performed at the Apple Store in Union Square in exchange for Apple Watches in 2017. He understands why the events appeal to up-and-coming musicians and performers. “This may feel like it’s going to be the break for you, like, ‘Oh man, we’re doing something with Apple!'” Valle says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But he declined Apple’s subsequent offers to book his clients for in-store appearances, saying that there’s “no return” for artists who spend time and money putting a show together, only to find themselves performing for customers upgrading iPhones instead of an engaged audience. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"medium\" align=”right” citation=\"Victor Valle, artist manager\"]“You take a hit financially trying to get a band together, pay your [band] members, pay your way out to the store or even park in the area.”[/pullquote]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You take a hit financially trying to get a band together, pay your [band] members, pay your way out to the store or even park in the area,” Valle says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though the events may seem like a free marketing opportunity, the artists end up bearing the burden of promotion, effectively leveraging their followings to draw potential customers into the Apple store. There are no official \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> social media accounts that introduce Apple’s large follower base to the participants the company books. The only digital assets artists receive from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> are Instagram-ready flyers that use artists’ existing promotional photos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Nzinga was invited to participate in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, she thought the platform would help her promote her project, a month-long celebration of Black History Month called \u003ca href=\"http://www.bambdfest.com/About.php\" target=\"_blank\" rel=\"noopener\">BAMBDFest\u003c/a>. She agreed to take an Apple Watch Series 3 as payment. Though she called the evening “hella fun,” she was dismayed that Apple didn’t add links to her project on their website. Nor did the company hire a photographer to document the panel and poetry reading, which Nzinga says would have made working for trade more worthwhile.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13852911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852911\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Today-at-Apple-1-800x560.jpg\" alt=\"Ayodele Nzinga (center) moderates a panel at the Apple store in San Francisco with musician Tom Bowden (left) and filmmaker Cheryl Fabio (right) in February 2019.\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Today-at-Apple-1-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Today-at-Apple-1-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Today-at-Apple-1-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Today-at-Apple-1-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Today-at-Apple-1-1200x839.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Today-at-Apple-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ayodele Nzinga (center) moderates a panel at the Apple store in San Francisco with musician Tom Bowden (left) and filmmaker Cheryl Fabio (right) in February 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I was a little disappointed that they weren’t maximizing the moment as much as they could because they’re a huge tech company,” she says, adding that if Apple wants to meaningfully “show up different in their relationship to diversity,” it should consider how collaborations can be more mutually beneficial if cash isn’t part of the equation. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“They think the platform is sufficient,” she adds. “Of course, we have to pay rent like other people.”\u003c/span>\u003c/p>\n\u003ch2>Appealing to diversity\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a cultural climate where corporations project a progressive image to appeal to young people, the diverse roster of artists at San Francisco’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> events gives Apple cultural capital. One of the poets at Nzinga’s event, \u003ca href=\"https://www.catbrooksforoakland.com/\" target=\"_blank\" rel=\"noopener\">Cat Brooks\u003c/a>, ran a mayoral campaign on her reputation as a community organizer and co-founder of the \u003ca href=\"http://www.antipoliceterrorproject.org/\" target=\"_blank\" rel=\"noopener\">Anti-Police Terror Project\u003c/a>. \u003ca href=\"https://www.ashara.io/ashara-ekundayo-gallery\" target=\"_blank\" rel=\"noopener\">Ashara Ekundayo Gallery\u003c/a>, which has co-presented several events, exhibits art exclusively by black women. And \u003ca href=\"https://rockyrivera.weebly.com/\" target=\"_blank\" rel=\"noopener\">Rocky Rivera\u003c/a>, who led a music video workshop at Apple in February, raps about feminism and has mentored youth organizers.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This sort of curation has clear benefits for Apple’s reputation, and its effectiveness at marketing products to a diverse, global customer base. Evelyn Carter, a senior consultant at \u003ca href=\"https://www.paradigmiq.com\" target=\"_blank\" rel=\"noopener\">Paradigm\u003c/a>, a strategy firm that advises companies like Slack, Pinterest and Airbnb, explains that in 2019, the public looks to companies as “moral leaders in issues of diversity, equity and inclusion.” \u003c/span>\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=”right” citation=\"Evelyn Carter, strategy consultant\"]“There’s a history of companies benefiting from the creativity that black and brown folks bring, and the profits from the creativity don’t always come back to the folks who made that brand happen.”[/pullquote]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One could look at \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> as part of a centuries-old tradition. “There’s a history of companies benefiting from the creativity that black and brown folks bring, and the profits from the creativity don’t always come back to the folks who made that brand happen,” Carter says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s good stuff behind the idea, but it’s about making sure they’re following through,” she continues. “What does equity look like in this entire process?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Apple paying artists in merchandise “is insulting, and furthermore is insulting in the context of diversity,” says music journalist \u003ca href=\"https://twitter.com/_davidturner_?lang=en\" target=\"_blank\" rel=\"noopener\">David Turner\u003c/a>, who covers the streaming industry in his popular newsletter, \u003ca href=\"https://www.getrevue.co/profile/pennyfractions\" target=\"_blank\" rel=\"noopener\">\u003cem>Penny Fractions\u003c/em>\u003c/a>. “Diversity isn’t just putting people’s faces on things: it has to mean you respect them and are giving them equal access to power.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13852898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852898\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/today-at-apple-800x343.jpg\" alt=\"Flyers from recent performances at Today at Apple.\" width=\"800\" height=\"343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-800x343.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-768x330.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-1020x438.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-1200x515.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple.jpg 1752w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flyers from recent performances at Today at Apple.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Indeed, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> gives the company an inclusive image for next to nothing. The free gifts artists receive for \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> range from $149 to $379 in retail value, and cost Apple a fraction of that amount to produce. (Research firm IHS Technology estimated in 2015 that an Apple Watch only costs \u003c/span>\u003ca href=\"https://www.forbes.com/sites/aarontilley/2015/04/30/the-apple-watch-only-costs-83-70-to-make/#71f48b282f08\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">$83.70\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to manufacture, though Apple’s Tim Cook and \u003c/span>\u003ca href=\"https://www.ibtimes.co.uk/apple-watch-does-not-cost-84-manufacture-it-costs-significantly-more-1500728\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">other industry experts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> dispute that claim.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite Apple’s public-facing image, the company’s \u003ca href=\"https://www.apple.com/diversity/\" target=\"_blank\" rel=\"noopener\">most recent diversity report\u003c/a> shows a different picture inside the company, whose U.S. workforce is 54-percent white. (The company’s leadership is even less diverse at 66-percent white.) Globally, the company is 68-percent male. In contrast, the roster of unpaid artists who’ve performed at \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in San Francisco are mostly women of color.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13852912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852912\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/apple-diversity-report-800x379.jpg\" alt=\"Apple's most recent diversity report reveals the company's employees to be mostly white and male.\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/apple-diversity-report-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/apple-diversity-report-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/apple-diversity-report-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/apple-diversity-report.jpg 989w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Apple’s most recent diversity report reveals that most of the company’s employees are white and male. \u003ccite>(Apple.com/Diversity)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Turner elaborates that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> “doesn’t serve any purpose but making the company look better; bringing down wages for these artists; and essentially saying diversity is something that we’re going to pay lip service towards, but not something we deeply care about.”\u003c/span>\u003c/p>\n\u003ch2>The exposure economy\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the Bay Area, Apple operates in an economy where paid opportunities for artists are scarce. Meanwhile, influencer culture sells up-and-coming artists the idea that getting one’s work in front of enough eyeballs will eventually lead to monetary income. Conditions are ripe for exploitation in this climate, and it’s common for corporations to ask ambitious, under-resourced creatives to work for low or no pay in return for “\u003c/span>\u003ca href=\"https://www.forbes.com/sites/lizryan/2017/03/13/no-i-wont-work-for-free-for-the-exposure/#b71265d44024\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">exposure\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But working for low or no pay devalues creative labor as a whole. Rather than setting up artists for paid opportunities, unpaid and work-for-trade gigs become the norm, making it easier for companies to take advantage of the next hopeful.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m really grateful for the opportunity and experience,” says Vanessa Nguyen, a.k.a. \u003ca href=\"https://www.besamebesa.me/#0\" target=\"_blank\" rel=\"noopener\">Besame\u003c/a>, a visual artist and event producer who was part of a session that included performances and a panel discussion with her creative collective, \u003ca href=\"http://levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>. “But definitely knowing they’re a giant company that’s not going bankrupt, it’s kind of weird that they can’t compensate talent.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She inquired with Apple representatives about monetary compensation and was told “all they could do was give product out.” People in her collective took home Apple TVs, while she received one iPad to share with another person.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13852927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/today-at-apple-6-800x533.jpeg\" alt=\"Creative collective Le Vanguard's Apple store appearance included live performances and a drawing demo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-1200x800.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Creative collective Le Vanguard’s Apple store appearance included live performances and a drawing demo. \u003ccite>(Kristian Contreras/YK La Familia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The events at Apple’s Union Square store also take place in the context of exploding housing costs in the Bay Area, the most expensive rental market in the country. The average rent for a one-bedroom apartment is \u003ca href=\"https://www.rentjungle.com/average-rent-in-san-francisco-rent-trends/\" target=\"_blank\" rel=\"noopener\">$3,402 in San Francisco\u003c/a> and \u003ca href=\"https://www.rentjungle.com/average-rent-in-oakland-rent-trends/\" target=\"_blank\" rel=\"noopener\">$2,560 in Oakland\u003c/a>, according to apartment-hunting site RentJungle. (Artists in particular are struggling in this economy: a 2015 \u003ca href=\"https://www.kqed.org/arts/10960748/survey-confirms-market-forces-pushing-artists-out-of-san-francisco\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission survey\u003c/a> found that nearly 70 percent of the 600 respondents had been displaced from their home, work space or both.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think because artists are poor or broke, they’re easily exploited,” Nguyen says. “We were not really asking for much.”\u003c/span>\u003c/p>\n\u003ch2>A complicated choice for artists\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, some artists have positive things to say about the work-for-trade arrangement at \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> events, and see them as a showcase for their work at a busy location. Rocky Rivera characterized her appearance as an opportunity to share skills and, as a San Francisco native, reclaim space in a city where the tech industry has transformed the socioeconomic landscape. In fact, she approached Apple to host her panel and music video-making workshop, not the other way around. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Not only was I showing my community how to use their devices to create art,” she says, “but I was also showing a very unapologetic stance of being a hometown artist that needs to benefit from these tech companies.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Declining to state which product she accepted as payment (though she acknowledges the choice of either AirPods, an Apple TV or an Apple Watch Series 3), Rivera says the exchange felt equitable to her, but added that the issue of how corporations compensate artists is an important conversation. “Every artist has to make that decision: Is this exposure? Is it for a platform they believe in? Is that enough? Or do I feel exploited by this arrangement?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"medium\" align=”right” citation=\"Rocky Rivera, rapper\"]“Every artist has to make that decision: Is this exposure? Is it for a platform they believe in? Is that enough? Or do I feel exploited by this arrangement?”[/pullquote]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://hieroglyphicsemporium.bigcartel.com/\" target=\"_blank\" rel=\"noopener\">Hieroglyphics\u003c/a>‘ Tajai Massey, who performed and spoke at \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> last year, says he was fine with an Apple TV as compensation—but only because he has a day job as a successful architectural designer and entrepreneur, and doesn’t rely on music as a source of income “in a world where music isn’t even a product most people deem worthy of purchase.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead of streaming music for free and expecting large corporations to pay artists fairly, he says, fans should consider buying artists’ albums and merchandise directly. “It seems like a lot of time, we feel like these corporations, which have no souls, are all of a sudden supposed to get a conscience,” he says.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All told, most of the artists and advocates interviewed for this story assert that if a company as profitable and influential as Apple values artistic labor, then it should pay for it—or at least invest in promoting the artists who give it their time. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> has the potential to be beneficial for all involved. The question is whether or not Apple will put its immense resources behind it.\u003c/span>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The company trades AirPods and Apple TVs to artists, mostly of color, appearing at its flagship San Francisco store.",
"status": "publish",
"parent": 0,
"modified": 1726767209,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 40,
"wordCount": 2404
},
"headData": {
"title": "Apple Isn't Paying Artists Who Perform at Its Stores | KQED",
"description": "The company trades AirPods and Apple TVs to artists, mostly of color, appearing at its flagship San Francisco store.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Apple Isn't Paying Artists Who Perform at Its Stores",
"datePublished": "2019-03-14T08:00:20-07:00",
"dateModified": "2024-09-19T10:33:29-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13852882/artists-today-at-apple-unpaid-exposure-money",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">As tourists bustled across San Francisco’s Union Square on a crisp evening this past February, the flagship Apple store became the unlikely site of an intergenerational conversation about racial justice.\u003c/span>\u003c/p>\n\u003cp>For a Black History Month installment of the event series \u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Oakland playwright \u003ca href=\"http://www.ayodelenzinga.com/\" target=\"_blank\" rel=\"noopener\">Ayodele Nzinga\u003c/a> and a handful of other artists read spoken-word poetry and discussed Oakland’s musical history. Roughly two dozen friends and family members gathered around, and shoppers passively listened as they played with Apple gadgets.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The art was an economic driver,” Nzinga said at one point, describing the resilience of Oakland’s African-American community amid systemic racism. “It was a way to take yourself out of poverty, or at least maintain.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And yet, Apple didn’t pay any of the artists who performed or spoke that night—at least not in cash, Nzinga says. Instead, they were given Apple products. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13853392",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nzinga isn’t the only local artist Apple has booked for their \u003c/span>\u003ca href=\"https://www.apple.com/today/unionsquare/\" target=\"_blank\" rel=\"noopener\">\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> sessions in San Francisco without paying a flat fee. The event series has taken place at Apple stores across the country since 2017, and is marketed as an opportunity for customers to hear from “\u003ca href=\"https://www.apple.com/newsroom/2019/01/apple-announces-new-today-at-apple-sessions/\" target=\"_blank\" rel=\"noopener\">world-class creators\u003c/a>.” Eleven artists with whom KQED spoke, either on the record or on background, confirmed that Apple didn’t offer monetary compensation for performances, panels and workshops, instead paying them in their choice of an Apple Watch Series 3, AirPods or an Apple TV. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At a time when Apple and other tech giants are \u003ca href=\"https://www.businessinsider.com/apple-releases-2017-diversity-report-showing-little-progress-2017-11\" target=\"_blank\" rel=\"noopener\">under scrutiny for a lack of staff diversity\u003c/a>, experts say that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">‘\u003c/span>\u003cspan style=\"font-weight: 400\">s roster of local artists lends the company a \u003ca href=\"https://www.engadget.com/2018/09/12/apple-diversity-iphone-xs-camera-photos-event/\" target=\"_blank\" rel=\"noopener\">valuable, socially responsible image\u003c/a> while preserving their status quo, and at virtually no cost. Though some of the interviewees for this story expressed gratitude for the chance to work with a powerful brand, several came away from the experience questioning why Apple—the world’s largest company by market value, with a revenue of $265.6 billion in 2018 alone—was unable to pay them for their labor.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In talking with more than a dozen people about \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">‘\u003c/span>\u003cspan style=\"font-weight: 400\">s model, a nuanced portrait emerges of the artist’s dilemma in the Bay Area. Apple’s event programming thrives in a climate where artists are pressured to work for exposure, making it difficult to negotiate fair pay. While some interviewees were directly critical of being paid in merchandise instead of cash, others were hesitant to go on the record about Apple for fear of souring their relationship with the company. Meanwhile, experts maintain that a work-for-trade arrangement with a corporation as large and profitable as Apple reinforces a power dynamic that keeps artists at a disadvantage. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Representatives from Apple declined KQED’s multiple requests for comment.\u003c/span>\u003c/p>\n\u003ch2>‘No return’ for artists\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Victor Valle, founder of the creative agency \u003ca href=\"https://counterculture.group/\" target=\"_blank\" rel=\"noopener\">Counter Culture Group\u003c/a>, says two artists he manages performed at the Apple Store in Union Square in exchange for Apple Watches in 2017. He understands why the events appeal to up-and-coming musicians and performers. “This may feel like it’s going to be the break for you, like, ‘Oh man, we’re doing something with Apple!'” Valle says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But he declined Apple’s subsequent offers to book his clients for in-store appearances, saying that there’s “no return” for artists who spend time and money putting a show together, only to find themselves performing for customers upgrading iPhones instead of an engaged audience. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "“You take a hit financially trying to get a band together, pay your [band] members, pay your way out to the store or even park in the area.”",
"name": "pullquote",
"attributes": {
"named": {
"size": "medium",
"align": "”right”",
"citation": "Victor Valle, artist manager",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You take a hit financially trying to get a band together, pay your [band] members, pay your way out to the store or even park in the area,” Valle says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though the events may seem like a free marketing opportunity, the artists end up bearing the burden of promotion, effectively leveraging their followings to draw potential customers into the Apple store. There are no official \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> social media accounts that introduce Apple’s large follower base to the participants the company books. The only digital assets artists receive from \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> are Instagram-ready flyers that use artists’ existing promotional photos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Nzinga was invited to participate in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, she thought the platform would help her promote her project, a month-long celebration of Black History Month called \u003ca href=\"http://www.bambdfest.com/About.php\" target=\"_blank\" rel=\"noopener\">BAMBDFest\u003c/a>. She agreed to take an Apple Watch Series 3 as payment. Though she called the evening “hella fun,” she was dismayed that Apple didn’t add links to her project on their website. Nor did the company hire a photographer to document the panel and poetry reading, which Nzinga says would have made working for trade more worthwhile.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13852911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852911\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Today-at-Apple-1-800x560.jpg\" alt=\"Ayodele Nzinga (center) moderates a panel at the Apple store in San Francisco with musician Tom Bowden (left) and filmmaker Cheryl Fabio (right) in February 2019.\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Today-at-Apple-1-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Today-at-Apple-1-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Today-at-Apple-1-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Today-at-Apple-1-1020x713.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Today-at-Apple-1-1200x839.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Today-at-Apple-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ayodele Nzinga (center) moderates a panel at the Apple store in San Francisco with musician Tom Bowden (left) and filmmaker Cheryl Fabio (right) in February 2019. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I was a little disappointed that they weren’t maximizing the moment as much as they could because they’re a huge tech company,” she says, adding that if Apple wants to meaningfully “show up different in their relationship to diversity,” it should consider how collaborations can be more mutually beneficial if cash isn’t part of the equation. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“They think the platform is sufficient,” she adds. “Of course, we have to pay rent like other people.”\u003c/span>\u003c/p>\n\u003ch2>Appealing to diversity\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a cultural climate where corporations project a progressive image to appeal to young people, the diverse roster of artists at San Francisco’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> events gives Apple cultural capital. One of the poets at Nzinga’s event, \u003ca href=\"https://www.catbrooksforoakland.com/\" target=\"_blank\" rel=\"noopener\">Cat Brooks\u003c/a>, ran a mayoral campaign on her reputation as a community organizer and co-founder of the \u003ca href=\"http://www.antipoliceterrorproject.org/\" target=\"_blank\" rel=\"noopener\">Anti-Police Terror Project\u003c/a>. \u003ca href=\"https://www.ashara.io/ashara-ekundayo-gallery\" target=\"_blank\" rel=\"noopener\">Ashara Ekundayo Gallery\u003c/a>, which has co-presented several events, exhibits art exclusively by black women. And \u003ca href=\"https://rockyrivera.weebly.com/\" target=\"_blank\" rel=\"noopener\">Rocky Rivera\u003c/a>, who led a music video workshop at Apple in February, raps about feminism and has mentored youth organizers.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This sort of curation has clear benefits for Apple’s reputation, and its effectiveness at marketing products to a diverse, global customer base. Evelyn Carter, a senior consultant at \u003ca href=\"https://www.paradigmiq.com\" target=\"_blank\" rel=\"noopener\">Paradigm\u003c/a>, a strategy firm that advises companies like Slack, Pinterest and Airbnb, explains that in 2019, the public looks to companies as “moral leaders in issues of diversity, equity and inclusion.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "“There’s a history of companies benefiting from the creativity that black and brown folks bring, and the profits from the creativity don’t always come back to the folks who made that brand happen.”",
"name": "pullquote",
"attributes": {
"named": {
"size": "medium",
"align": "”right”",
"citation": "Evelyn Carter, strategy consultant",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One could look at \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> as part of a centuries-old tradition. “There’s a history of companies benefiting from the creativity that black and brown folks bring, and the profits from the creativity don’t always come back to the folks who made that brand happen,” Carter says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s good stuff behind the idea, but it’s about making sure they’re following through,” she continues. “What does equity look like in this entire process?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Apple paying artists in merchandise “is insulting, and furthermore is insulting in the context of diversity,” says music journalist \u003ca href=\"https://twitter.com/_davidturner_?lang=en\" target=\"_blank\" rel=\"noopener\">David Turner\u003c/a>, who covers the streaming industry in his popular newsletter, \u003ca href=\"https://www.getrevue.co/profile/pennyfractions\" target=\"_blank\" rel=\"noopener\">\u003cem>Penny Fractions\u003c/em>\u003c/a>. “Diversity isn’t just putting people’s faces on things: it has to mean you respect them and are giving them equal access to power.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13852898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852898\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/today-at-apple-800x343.jpg\" alt=\"Flyers from recent performances at Today at Apple.\" width=\"800\" height=\"343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-800x343.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-768x330.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-1020x438.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-1200x515.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple.jpg 1752w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flyers from recent performances at Today at Apple.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Indeed, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> gives the company an inclusive image for next to nothing. The free gifts artists receive for \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> range from $149 to $379 in retail value, and cost Apple a fraction of that amount to produce. (Research firm IHS Technology estimated in 2015 that an Apple Watch only costs \u003c/span>\u003ca href=\"https://www.forbes.com/sites/aarontilley/2015/04/30/the-apple-watch-only-costs-83-70-to-make/#71f48b282f08\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">$83.70\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to manufacture, though Apple’s Tim Cook and \u003c/span>\u003ca href=\"https://www.ibtimes.co.uk/apple-watch-does-not-cost-84-manufacture-it-costs-significantly-more-1500728\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">other industry experts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> dispute that claim.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite Apple’s public-facing image, the company’s \u003ca href=\"https://www.apple.com/diversity/\" target=\"_blank\" rel=\"noopener\">most recent diversity report\u003c/a> shows a different picture inside the company, whose U.S. workforce is 54-percent white. (The company’s leadership is even less diverse at 66-percent white.) Globally, the company is 68-percent male. In contrast, the roster of unpaid artists who’ve performed at \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in San Francisco are mostly women of color.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13852912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852912\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/apple-diversity-report-800x379.jpg\" alt=\"Apple's most recent diversity report reveals the company's employees to be mostly white and male.\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/apple-diversity-report-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/apple-diversity-report-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/apple-diversity-report-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/apple-diversity-report.jpg 989w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Apple’s most recent diversity report reveals that most of the company’s employees are white and male. \u003ccite>(Apple.com/Diversity)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Turner elaborates that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> “doesn’t serve any purpose but making the company look better; bringing down wages for these artists; and essentially saying diversity is something that we’re going to pay lip service towards, but not something we deeply care about.”\u003c/span>\u003c/p>\n\u003ch2>The exposure economy\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the Bay Area, Apple operates in an economy where paid opportunities for artists are scarce. Meanwhile, influencer culture sells up-and-coming artists the idea that getting one’s work in front of enough eyeballs will eventually lead to monetary income. Conditions are ripe for exploitation in this climate, and it’s common for corporations to ask ambitious, under-resourced creatives to work for low or no pay in return for “\u003c/span>\u003ca href=\"https://www.forbes.com/sites/lizryan/2017/03/13/no-i-wont-work-for-free-for-the-exposure/#b71265d44024\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">exposure\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But working for low or no pay devalues creative labor as a whole. Rather than setting up artists for paid opportunities, unpaid and work-for-trade gigs become the norm, making it easier for companies to take advantage of the next hopeful.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m really grateful for the opportunity and experience,” says Vanessa Nguyen, a.k.a. \u003ca href=\"https://www.besamebesa.me/#0\" target=\"_blank\" rel=\"noopener\">Besame\u003c/a>, a visual artist and event producer who was part of a session that included performances and a panel discussion with her creative collective, \u003ca href=\"http://levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>. “But definitely knowing they’re a giant company that’s not going bankrupt, it’s kind of weird that they can’t compensate talent.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She inquired with Apple representatives about monetary compensation and was told “all they could do was give product out.” People in her collective took home Apple TVs, while she received one iPad to share with another person.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13852927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/today-at-apple-6-800x533.jpeg\" alt=\"Creative collective Le Vanguard's Apple store appearance included live performances and a drawing demo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6-1200x800.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/today-at-apple-6.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Creative collective Le Vanguard’s Apple store appearance included live performances and a drawing demo. \u003ccite>(Kristian Contreras/YK La Familia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The events at Apple’s Union Square store also take place in the context of exploding housing costs in the Bay Area, the most expensive rental market in the country. The average rent for a one-bedroom apartment is \u003ca href=\"https://www.rentjungle.com/average-rent-in-san-francisco-rent-trends/\" target=\"_blank\" rel=\"noopener\">$3,402 in San Francisco\u003c/a> and \u003ca href=\"https://www.rentjungle.com/average-rent-in-oakland-rent-trends/\" target=\"_blank\" rel=\"noopener\">$2,560 in Oakland\u003c/a>, according to apartment-hunting site RentJungle. (Artists in particular are struggling in this economy: a 2015 \u003ca href=\"https://www.kqed.org/arts/10960748/survey-confirms-market-forces-pushing-artists-out-of-san-francisco\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission survey\u003c/a> found that nearly 70 percent of the 600 respondents had been displaced from their home, work space or both.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think because artists are poor or broke, they’re easily exploited,” Nguyen says. “We were not really asking for much.”\u003c/span>\u003c/p>\n\u003ch2>A complicated choice for artists\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, some artists have positive things to say about the work-for-trade arrangement at \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> events, and see them as a showcase for their work at a busy location. Rocky Rivera characterized her appearance as an opportunity to share skills and, as a San Francisco native, reclaim space in a city where the tech industry has transformed the socioeconomic landscape. In fact, she approached Apple to host her panel and music video-making workshop, not the other way around. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Not only was I showing my community how to use their devices to create art,” she says, “but I was also showing a very unapologetic stance of being a hometown artist that needs to benefit from these tech companies.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Declining to state which product she accepted as payment (though she acknowledges the choice of either AirPods, an Apple TV or an Apple Watch Series 3), Rivera says the exchange felt equitable to her, but added that the issue of how corporations compensate artists is an important conversation. “Every artist has to make that decision: Is this exposure? Is it for a platform they believe in? Is that enough? Or do I feel exploited by this arrangement?” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "“Every artist has to make that decision: Is this exposure? Is it for a platform they believe in? Is that enough? Or do I feel exploited by this arrangement?”",
"name": "pullquote",
"attributes": {
"named": {
"size": "medium",
"align": "”right”",
"citation": "Rocky Rivera, rapper",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://hieroglyphicsemporium.bigcartel.com/\" target=\"_blank\" rel=\"noopener\">Hieroglyphics\u003c/a>‘ Tajai Massey, who performed and spoke at \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> last year, says he was fine with an Apple TV as compensation—but only because he has a day job as a successful architectural designer and entrepreneur, and doesn’t rely on music as a source of income “in a world where music isn’t even a product most people deem worthy of purchase.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead of streaming music for free and expecting large corporations to pay artists fairly, he says, fans should consider buying artists’ albums and merchandise directly. “It seems like a lot of time, we feel like these corporations, which have no souls, are all of a sudden supposed to get a conscience,” he says.\u003c/span>\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>\u003cspan style=\"font-weight: 400\">All told, most of the artists and advocates interviewed for this story assert that if a company as profitable and influential as Apple values artistic labor, then it should pay for it—or at least invest in promoting the artists who give it their time. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Today at Apple\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> has the potential to be beneficial for all involved. The question is whether or not Apple will put its immense resources behind it.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13852882/artists-today-at-apple-unpaid-exposure-money",
"authors": [
"11387"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_3838",
"arts_5849",
"arts_1908"
],
"featImg": "arts_13852926",
"label": "arts"
},
"arts_13852803": {
"type": "posts",
"id": "arts_13852803",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13852803",
"score": null,
"sort": [
1552489234000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1552489234,
"format": "standard",
"title": "What’s the Deal With That Neon on the Side of the Bill Graham Civic Auditorium?",
"headTitle": "What’s the Deal With That Neon on the Side of the Bill Graham Civic Auditorium? | KQED",
"content": "\u003cp>Tonight, the San Francisco Arts Commission will \u003ca href=\"https://www.sfartscommission.org/calendar/dedication-and-lighting-ceremony\" rel=\"noopener\" target=\"_blank\">flip the switch\u003c/a> on a large-scale neon artwork covering the western side of the Bill Graham Civic Auditorium. For anyone passing by Polk Street between Hayes and Grove, what was once a blank brick facade (interrupted by two utilitarian exterior stairways) now features Joseph Kosuth’s \u003ci>W.F.T. (San Francisco)\u003c/i>, a glowing map of the words “civic,” “auditorium,” and their etymological origins.\u003c/p>\n\u003cp>Ever at your service, let me answer some of your basic burning questions about this new bit of public art.\u003c/p>\n\u003cp>\u003cb>Who is this Joseph Kosuth guy?\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://origin.www.skny.com/artists/joseph-kosuth\" rel=\"noopener\" target=\"_blank\">Joseph Kosuth\u003c/a> is an American-born conceptual artist who currently splits his time between Rome and New York City. He rose to prominence in the New York scene of the 1960s, first as a student at the School of Visual Arts, then as a faculty member at the age of 22. And while his career has only grown since then (he’s participated in four different \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Documenta\" rel=\"noopener\" target=\"_blank\">documenta\u003c/a>\u003c/i> exhibitions and three different Venice Biennales), he is perhaps best known for his early forays into the relationship between language and meaning. \u003c/p>\n\u003cp>[aside postID=\"arts_13832983,arts_13843006,news_11638989\" label=\"Related Coverage\"]\u003c/p>\n\u003cp>The Kosuth piece everyone and their cousin learns about in Contemporary Art History 101 is called \u003ci>\u003ca href=\"https://www.moma.org/collection/works/81435\" rel=\"noopener\" target=\"_blank\">One and Three Chairs\u003c/a>\u003c/i>, a presentation of one chair three different ways: actual chair, a photograph of the chair and a copy of the dictionary entry for the word “chair.” Object, image and language. \u003c/p>\n\u003cp>Trust me, when you’re a 20-year-old art student (the same age Kosuth was when he put this piece together), \u003ci>One and Three Chairs\u003c/i> blows your mind. \u003c/p>\n\u003cp>Fast forward to 2019 and Kosuth is 74, still producing work—including plenty of public art—that addresses the basic concerns he raised in his college years. How does art create meaning? And how does language shape the world?\u003c/p>\n\u003cp>\u003cb>Cool, but what does it \u003ci>mean\u003c/i>?\u003c/b>\u003c/p>\n\u003cp>First off, \u003ci>W.F.T.\u003c/i> is not, as my brain keeps telling me, a typo of \u003ci>W.T.F.\u003c/i> \u003c/p>\n\u003cp>It stands for “Word Family Tree,” a style of mapping words and their etymologies that Kosuth has used for a number of years. Tracing the word “civic” back to its roots, we learn it comes from \u003ci>civicus\u003c/i>, Latin for “of the community.” But it is also related to an Old English word for “family” and an Old High German word for “married couple.”\u003c/p>\n\u003cfigure id=\"attachment_13852810\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_640.jpg\" alt=\"Detail of Joseph Kosuth's 'W.F.T. (San Francisco).'\" width=\"640\" height=\"960\" class=\"size-full wp-image-13852810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_640-160x240.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Joseph Kosuth’s ‘W.F.T. (San Francisco).’ \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here, the SFAC would like to point to Civic Center (specifically City Hall) as a site pivotal to the history of same-sex marriage. Also: a Latin word for “civil” is another another “civic” precursor.\u003c/p>\n\u003cp>Whether or not audiences take the extra leap to connect \u003ci>W.F.T.\u003c/i> to San Francisco’s LGBT and Civil Rights movements is debatable, but Kosuth isn’t averse to a historical reading. “The basis of this project is language itself,” he says. “It is a work that is both a reflection on its own construction as well as on the history and culture of its own location.”\u003c/p>\n\u003cp>On the “auditorium” side of things, there’s a Latin word for that: \u003ci>auditorium\u003c/i>. It means, “place for hearing,” but it’s also linked to a Greek word for “perceive” and a Proto-Indo-European word for “make clear.”\u003c/p>\n\u003cp>But don’t take my word for it, all of this is spelled out, literally, in white neon. \u003c/p>\n\u003cp>\u003cb>Why is this art here, now?\u003c/b>\u003c/p>\n\u003cp>The installation is a product of the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/policies-guidelines/public-art-trust-guidelines\" rel=\"noopener\" target=\"_blank\">Public Art Trust\u003c/a>, an initiative launched by the SFAC in 2012 that provides an alternative destination for downtown developers’ 1%-for-art funds. Developers can either \u003ca href=\"https://www.kqed.org/arts/11671203/new-92-foot-statue-tallest-in-the-city-unveiled-in-downtown-san-francisco\" rel=\"noopener\" target=\"_blank\">place artwork on-site\u003c/a> (provided it’s publicly accessible), or they can deposit their requirement into the Public Art Trust, where it can be used to commission temporary art projects, fund capital improvements for nonprofit arts organizations, pay for restorations within the Civic Art Collection, or, in the case of Kosuth’s neon, pay for a new piece of permanent public art on a city-owned site.\u003c/p>\n\u003cp>This is the very first piece of public art to come out of the Public Art Trust endeavor. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>So who paid for it?\u003c/b>\u003c/p>\n\u003cp>The developer footing the bill is Emerald Fund, a San Francisco-based company. Emerald Fund is responsible for two nearby residential buildings, \u003ca href=\"http://thecivicsf.com/\" rel=\"noopener\" target=\"_blank\">The Civic\u003c/a> (tagline: “The City at Your Doorstep”) and \u003ca href=\"https://150vanness.com/\" rel=\"noopener\" target=\"_blank\">150 Van Ness\u003c/a> (“Experience it all”), both of which contain units with views of Bill Graham Civic Auditorium’s western side.\u003c/p>\n\u003cp>And before you ask, the total project budget was $1,200,000.\u003c/p>\n\u003cfigure id=\"attachment_13852811\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200.jpg\" alt=\"Daytime view of Joseph Kosuth's 'W.F.T. (San Francisco).'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13852811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Daytime view of Joseph Kosuth’s ‘W.F.T. (San Francisco).’ \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Whoa. Neon!\u003c/b>\u003c/p>\n\u003cp>Right? We’re all in the wrong business. The tubes were fabricated by a venerable company named \u003ca href=\"http://www.neonlauro.it/\" rel=\"noopener\" target=\"_blank\">Neonlauro\u003c/a> just outside of Venice, Italy. Kosuth has worked with them before on a number of gallery and public art projects. \u003c/p>\n\u003cp>And this sucker is big—bigger actually, than the whole block. The SFAC says as far as they know, this is largest public display of neon in the city (someone might be hoarding a huge private cache of neon somewhere, but I’m feeling good about our chances on this one). \u003c/p>\n\u003cp>Bonus info, for those who (rightfully) care about this kind of thing: The tubes are attached through the mortar to prevent damage to the auditorium’s historic brick cladding. (The Historic Preservation Commission signed off on the project, never fear.)\u003c/p>\n\u003cp>\u003cb>When can I see it?\u003c/b> \u003c/p>\n\u003cp>After the \u003ca href=\"https://www.sfartscommission.org/calendar/dedication-and-lighting-ceremony\" rel=\"noopener\" target=\"_blank\">March 13, 6pm lighting ceremony\u003c/a>, the neon will be on from 6am to 11pm every day of the gosh darn week.\u003c/p>\n\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1001,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 29
},
"modified": 1705026488,
"excerpt": "A new piece of privately funded public art lights up the Civic Center neighborhood with work by Joseph Kosuth.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A new piece of privately funded public art lights up the Civic Center neighborhood with work by Joseph Kosuth.",
"title": "What’s the Deal With That Neon on the Side of the Bill Graham Civic Auditorium? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What’s the Deal With That Neon on the Side of the Bill Graham Civic Auditorium?",
"datePublished": "2019-03-13T08:00:34-07:00",
"dateModified": "2024-01-11T18:28:08-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "whats-the-deal-with-that-neon-on-the-side-of-the-bill-graham-civic-auditorium",
"status": "publish",
"sticky": false,
"path": "/arts/13852803/whats-the-deal-with-that-neon-on-the-side-of-the-bill-graham-civic-auditorium",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tonight, the San Francisco Arts Commission will \u003ca href=\"https://www.sfartscommission.org/calendar/dedication-and-lighting-ceremony\" rel=\"noopener\" target=\"_blank\">flip the switch\u003c/a> on a large-scale neon artwork covering the western side of the Bill Graham Civic Auditorium. For anyone passing by Polk Street between Hayes and Grove, what was once a blank brick facade (interrupted by two utilitarian exterior stairways) now features Joseph Kosuth’s \u003ci>W.F.T. (San Francisco)\u003c/i>, a glowing map of the words “civic,” “auditorium,” and their etymological origins.\u003c/p>\n\u003cp>Ever at your service, let me answer some of your basic burning questions about this new bit of public art.\u003c/p>\n\u003cp>\u003cb>Who is this Joseph Kosuth guy?\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"http://origin.www.skny.com/artists/joseph-kosuth\" rel=\"noopener\" target=\"_blank\">Joseph Kosuth\u003c/a> is an American-born conceptual artist who currently splits his time between Rome and New York City. He rose to prominence in the New York scene of the 1960s, first as a student at the School of Visual Arts, then as a faculty member at the age of 22. And while his career has only grown since then (he’s participated in four different \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Documenta\" rel=\"noopener\" target=\"_blank\">documenta\u003c/a>\u003c/i> exhibitions and three different Venice Biennales), he is perhaps best known for his early forays into the relationship between language and meaning. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13832983,arts_13843006,news_11638989",
"label": "Related Coverage "
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Kosuth piece everyone and their cousin learns about in Contemporary Art History 101 is called \u003ci>\u003ca href=\"https://www.moma.org/collection/works/81435\" rel=\"noopener\" target=\"_blank\">One and Three Chairs\u003c/a>\u003c/i>, a presentation of one chair three different ways: actual chair, a photograph of the chair and a copy of the dictionary entry for the word “chair.” Object, image and language. \u003c/p>\n\u003cp>Trust me, when you’re a 20-year-old art student (the same age Kosuth was when he put this piece together), \u003ci>One and Three Chairs\u003c/i> blows your mind. \u003c/p>\n\u003cp>Fast forward to 2019 and Kosuth is 74, still producing work—including plenty of public art—that addresses the basic concerns he raised in his college years. How does art create meaning? And how does language shape the world?\u003c/p>\n\u003cp>\u003cb>Cool, but what does it \u003ci>mean\u003c/i>?\u003c/b>\u003c/p>\n\u003cp>First off, \u003ci>W.F.T.\u003c/i> is not, as my brain keeps telling me, a typo of \u003ci>W.T.F.\u003c/i> \u003c/p>\n\u003cp>It stands for “Word Family Tree,” a style of mapping words and their etymologies that Kosuth has used for a number of years. Tracing the word “civic” back to its roots, we learn it comes from \u003ci>civicus\u003c/i>, Latin for “of the community.” But it is also related to an Old English word for “family” and an Old High German word for “married couple.”\u003c/p>\n\u003cfigure id=\"attachment_13852810\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_640.jpg\" alt=\"Detail of Joseph Kosuth's 'W.F.T. (San Francisco).'\" width=\"640\" height=\"960\" class=\"size-full wp-image-13852810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_640-160x240.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Joseph Kosuth’s ‘W.F.T. (San Francisco).’ \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here, the SFAC would like to point to Civic Center (specifically City Hall) as a site pivotal to the history of same-sex marriage. Also: a Latin word for “civil” is another another “civic” precursor.\u003c/p>\n\u003cp>Whether or not audiences take the extra leap to connect \u003ci>W.F.T.\u003c/i> to San Francisco’s LGBT and Civil Rights movements is debatable, but Kosuth isn’t averse to a historical reading. “The basis of this project is language itself,” he says. “It is a work that is both a reflection on its own construction as well as on the history and culture of its own location.”\u003c/p>\n\u003cp>On the “auditorium” side of things, there’s a Latin word for that: \u003ci>auditorium\u003c/i>. It means, “place for hearing,” but it’s also linked to a Greek word for “perceive” and a Proto-Indo-European word for “make clear.”\u003c/p>\n\u003cp>But don’t take my word for it, all of this is spelled out, literally, in white neon. \u003c/p>\n\u003cp>\u003cb>Why is this art here, now?\u003c/b>\u003c/p>\n\u003cp>The installation is a product of the \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/policies-guidelines/public-art-trust-guidelines\" rel=\"noopener\" target=\"_blank\">Public Art Trust\u003c/a>, an initiative launched by the SFAC in 2012 that provides an alternative destination for downtown developers’ 1%-for-art funds. Developers can either \u003ca href=\"https://www.kqed.org/arts/11671203/new-92-foot-statue-tallest-in-the-city-unveiled-in-downtown-san-francisco\" rel=\"noopener\" target=\"_blank\">place artwork on-site\u003c/a> (provided it’s publicly accessible), or they can deposit their requirement into the Public Art Trust, where it can be used to commission temporary art projects, fund capital improvements for nonprofit arts organizations, pay for restorations within the Civic Art Collection, or, in the case of Kosuth’s neon, pay for a new piece of permanent public art on a city-owned site.\u003c/p>\n\u003cp>This is the very first piece of public art to come out of the Public Art Trust endeavor. \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>So who paid for it?\u003c/b>\u003c/p>\n\u003cp>The developer footing the bill is Emerald Fund, a San Francisco-based company. Emerald Fund is responsible for two nearby residential buildings, \u003ca href=\"http://thecivicsf.com/\" rel=\"noopener\" target=\"_blank\">The Civic\u003c/a> (tagline: “The City at Your Doorstep”) and \u003ca href=\"https://150vanness.com/\" rel=\"noopener\" target=\"_blank\">150 Van Ness\u003c/a> (“Experience it all”), both of which contain units with views of Bill Graham Civic Auditorium’s western side.\u003c/p>\n\u003cp>And before you ask, the total project budget was $1,200,000.\u003c/p>\n\u003cfigure id=\"attachment_13852811\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200.jpg\" alt=\"Daytime view of Joseph Kosuth's 'W.F.T. (San Francisco).'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13852811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/joseph-kosuth-wft-san-francisco_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Daytime view of Joseph Kosuth’s ‘W.F.T. (San Francisco).’ \u003ccite>(Ethan Kaplan Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Whoa. Neon!\u003c/b>\u003c/p>\n\u003cp>Right? We’re all in the wrong business. The tubes were fabricated by a venerable company named \u003ca href=\"http://www.neonlauro.it/\" rel=\"noopener\" target=\"_blank\">Neonlauro\u003c/a> just outside of Venice, Italy. Kosuth has worked with them before on a number of gallery and public art projects. \u003c/p>\n\u003cp>And this sucker is big—bigger actually, than the whole block. The SFAC says as far as they know, this is largest public display of neon in the city (someone might be hoarding a huge private cache of neon somewhere, but I’m feeling good about our chances on this one). \u003c/p>\n\u003cp>Bonus info, for those who (rightfully) care about this kind of thing: The tubes are attached through the mortar to prevent damage to the auditorium’s historic brick cladding. (The Historic Preservation Commission signed off on the project, never fear.)\u003c/p>\n\u003cp>\u003cb>When can I see it?\u003c/b> \u003c/p>\n\u003cp>After the \u003ca href=\"https://www.sfartscommission.org/calendar/dedication-and-lighting-ceremony\" rel=\"noopener\" target=\"_blank\">March 13, 6pm lighting ceremony\u003c/a>, the neon will be on from 6am to 11pm every day of the gosh darn week.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13852803/whats-the-deal-with-that-neon-on-the-side-of-the-bill-graham-civic-auditorium",
"authors": [
"61"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1118",
"arts_6387",
"arts_596",
"arts_2628",
"arts_1879"
],
"featImg": "arts_13852809",
"label": "arts"
},
"arts_13852765": {
"type": "posts",
"id": "arts_13852765",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13852765",
"score": null,
"sort": [
1552417228000
]
},
"guestAuthors": [],
"slug": "u-s-accuses-actresses-others-of-fraud-in-massive-college-admissions-scandal",
"title": "Massive College Admissions Scandal Includes Bay Area Parents, Hollywood Actors",
"publishDate": 1552417228,
"format": "standard",
"headTitle": "Massive College Admissions Scandal Includes Bay Area Parents, Hollywood Actors | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003cstrong>Updated at 4:00 p.m., Wednesday:\u003c/strong>\u003c/p>\n\u003cp>BOSTON (AP) — The latest on a college admissions bribery scandal that has led to charges against coaches and celebrities:\u003c/p>\n\u003cp>A federal judge says “Full House” actress Lori Loughlin (LAWK’-lin) can be released after posting $1 million bond in a case in which she and her husband are accused of paying bribes to get their daughters into college.\u003c/p>\n\u003cp>Loughlin stood with her lawyer in the Los Angeles courtroom Wednesday and didn’t speak except to answer “yes” to the judge’s questions. Magistrate Judge Steve Kim said Loughlin must limit her travel to the continental U.S. and areas around Vancouver, Canada, for work.\u003c/p>\n\u003cp>Dozens of defendants in the alleged nationwide scheme, including Loughlin’s husband fashion designer Mossimo Giannulli, were arrested Tuesday. Giannulli posted bond and was released Tuesday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prosecutors allege the couple paid $500,000 to have their daughters labeled as crew-team recruits at the University of Southern California, even though neither is a rower.\u003c/p>\n\u003cp>Federal officials have charged dozens of well-heeled parents, including actresses Felicity Huffman and Lori Loughlin, in what the Justice Department says was a multimillion-dollar scheme to cheat college admissions standards. The parents allegedly paid a consultant who then fabricated academic and athletic credentials and arranged bribes to help get their children into prestigious universities.\u003c/p>\n\u003cp>“We’re talking about deception and fraud — fake test scores, fake credentials, fake photographs, bribed college officials,” Andrew Lelling, U.S. attorney for the District of Massachusetts, said at a news conference Tuesday in Boston.\u003c/p>\n\u003cp>Lelling said 33 parents “paid enormous sums” to try to ensure that their children got into universities such as Stanford and Yale, sending money to entities controlled by a California man named William Rick Singer in return for obtaining false records and false scores on important tests such as the SAT and ACT.\u003c/p>\n\u003cp>Singer also presented his clients’ children as elite athletes, Lelling said. “In many instances, Singer helped parents take staged photographs of their children engaged in particular sports,” he said. “Other times, Singer and his associates used stock photos that they pulled off the Internet — sometimes photoshopping the face of the child onto the picture of the athlete” and submitting them to desirable schools.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.justice.gov/file/1142876/download\">a report\u003c/a> submitted to the U.S. Department of Justice, Agustin Huneeus Jr., 53, of San Francisco, Calif., owner of Huneeus Vinters, allegedly paid for fraudulent SAT scores and a fabricated athletic profile that falsely identified her as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with the following photograph, which is of another individual.\u003c/p>\n\u003cfigure id=\"attachment_13852782\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852782\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter.jpg\" alt=\"A fabricated athletic profile falsely identified Augustin Huneeus Jr.'s daughter as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with this fabricated photograph, which is of another individual.\" width=\"664\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter.jpg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter-160x132.jpg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">A fabricated athletic profile falsely identified Augustin Huneeus Jr.’s daughter as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with this fabricated photograph, which is of another individual. \u003ccite>(U.S. Department of Justice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Singer’s clients paid him anywhere between $200,000 and $6.5 million for this service,” Lelling said. The alleged scheme, he noted, was uncovered after his office got a lead from someone who “was a target of an entirely separate investigation, who gave us a tip that this activity might be going on.”\u003c/p>\n\u003cp>The scope of the case is massive — a total of 50 people have been charged in the admissions scheme. More than three dozen people in multiple states were taken into custody Tuesday as part of “Operation Varsity Blues,” said Joseph Bonavolonta, special agent in charge of the FBI’s Boston division, at the news conference.\u003c/p>\n\u003cp>A judge in Los Angeles ruled Tuesday that Huffman could be released on $250,000 bond and Loughlin’s husband, fashion designer Mossimo Giannulli, could be released on $1 million bond. Loughlin has not yet been arrested.\u003c/p>\n\u003cp>The scheme operated from 2011 through February 2019, Lelling said, adding that in most cases, parents paid Singer between $250,000 and $400,000 per student.\u003c/p>\n\u003cp>[documentcloud url=”https://www.documentcloud.org/documents/5766750-Complaint.html” width=800 height=800]\u003c/p>\n\u003cp>“These parents are a catalog of wealth and privilege,” Lelling said. “They include, for example, CEOs of private and public companies, successful securities and real estate investors, two well-known actresses, a famous fashion designer and the co-chairman of a global law firm.”\u003c/p>\n\u003cp>The parents were already able to give their children “every legitimate advantage,” but instead they “chose to corrupt and illegally manipulate the system for their benefit,” Lelling said.\u003c/p>\n\u003cp>“There will not be a separate admissions system for the wealthy,” he added. “And there will not be a separate criminal justice system either.”\u003c/p>\n\u003cp>The parents were charged with conspiracy to commit mail fraud and honest-services mail fraud. Other defendants in the case include university athletic coaches and college exam administrators — some of whom are accused of accepting bribes.\u003c/p>\n\u003cp>The charges are part of a complex case that has been kept under seal. Documents related to the case were revealed Tuesday, as Singer pleaded guilty to a number of federal crimes from conspiracy to commit racketeering and money laundering to obstruction of justice, according to Lelling. A former head sailing coach at Stanford, John Vandemoer, also pleaded guilty Tuesday.\u003c/p>\n\u003cp>Singer “owned and operated the Edge College & Career Network LLC (‘The Key’) – a for-profit college counseling and preparation business – and served as the CEO of the Key Worldwide Foundation (KWF) – a non-profit corporation that he established as a purported charity,” the Justice Department \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">said in a statement\u003c/a>.\u003c/p>\n\u003cp>On \u003ca href=\"http://thekeyworldwide.com/getintocollege/why_the_key.html\">its website\u003c/a>, The Key promises to “unlock the door to academic, social, personal and career success.” The \u003ca href=\"http://thekeyworldwide.com/foundation/the_key_foundation.html\">foundation says\u003c/a> it “has touched the lives of hundreds of students that would never have been exposed to what higher education could do for them.”\u003c/p>\n\u003cp>Court documents state that the following schools were targeted as part of a “student-athlete recruitment scam”: Yale University, the University of Southern California, Georgetown University, UCLA, Wake Forest University, Stanford University, the University of San Diego and the \u003ca href=\"https://www.kut.org/post/ut-austin-tennis-coach-accepted-nearly-100000-college-admission-scheme-authorities-say\">University of Texas, Austin\u003c/a>.\u003c/p>\n\u003cp>Parents allegedly paid Singer a total of about $25 million that was then funneled into bribes for coaches and a university athletic administrator, according to court documents. In return, the students were allegedly designated as “recruited athletes,” which could increase their chances at gaining admission.\u003c/p>\n\u003cp>For example, the indictment states that “Singer and his co-conspirators made payments totaling $250,000 to a bank account at USC that funded [then USC head water polo coach Jovan Vavic’s] water polo team.” Vavic then allegedly designated two students as water polo recruits. The complaint also says that Singer contributed to the private school tuition for Vavic’s children in exchange for his “commitment to designate Singer’s clients as recruits for the USC water polo team in the future.”\u003c/p>\n\u003cp>USC said in a statement that it is carrying out an internal investigation into Vavic and other current and former employees who have been charged “and will take employment actions as appropriate.”\u003c/p>\n\u003cp>In another example of the scam, Lelling said former Yale women’s soccer coach Rudy Meredith took $400,000 to designate a potential student as a recruit for the team — boosting the student’s admission prospects — despite knowing that the student didn’t play the sport competitively.\u003c/p>\n\u003cp>Once the student was accepted to Yale, her relatives paid Singer approximately $1.2 million, including $900,000 to one of KWF’s charitable accounts, according to court documents.\u003c/p>\n\u003cp>Last April, Meredith allegedly met with the father of a second prospective student in a hotel room in Boston — a meeting that was secretly recorded by the FBI. In it, Meredith offered to designate the man’s daughter as a soccer recruit in exchange for $450,000, court documents state.\u003c/p>\n\u003cp>Meredith resigned his long-held post in November. In a statement to NPR, a Yale representative said: “As the indictment makes clear, the Department of Justice believes that Yale has been the victim of a crime perpetrated by its former women’s soccer coach. The university has cooperated fully in the investigation and will continue to cooperate as the case moves forward.”\u003c/p>\n\u003cp>The court documents also detail numerous examples of how the test score scheme worked.\u003c/p>\n\u003cp>The Justice Department said Singer sought to manipulate college entrance exams either by gaining extra time for his clients’ children to take the SAT and ACT through bogus claims of learning disabilities or by bribing test officials outright.\u003c/p>\n\u003cp>Singer also orchestrated scenarios under which students took tests overseen by test administrators at two locations, at a public high school in Houston and at a private college prep school in West Hollywood, Calif. Federal prosecutors say Singer paid administrators Niki Williams (in Houston) and Igor Dvorskiy (in California) bribes of as much as $10,000 per test.\u003c/p>\n\u003cp>To ensure a high score, Singer allegedly arranged for a third person “to take the exams in place of the students, to give the students the correct answers during the exams, or to correct the students’ answers” after they took the test, the \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">Justice Department said\u003c/a>. That role allegedly was often played by 36-year-old Mark Riddell of Palmetto, Fla.\u003c/p>\n\u003cp>“Singer’s clients paid him between $15,000 and $75,000 per test, with the payments structured as purported donations” to a purported charity that Singer controlled, the Justice Department said. “In many instances, the students taking the exams were unaware that their parents had arranged for the cheating.”\u003c/p>\n\u003cp>Bribe payments were allegedly disguised as charitable payments to Singer’s foundation, the KWF, the Justice Department says — an arrangement that enabled the clients to “deduct the bribes from their federal income taxes.”\u003c/p>\n\u003cp>On its website, KWF describes many of the students it has helped as having “only known life on the streets, surrounded by the gang violence of the inner-city.”\u003c/p>\n\u003cp>The foundation says it has worked with a number of groups, from Los Angeles-based LadyLike Foundation to the Houston Hoops youth basketball program.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">Justice Department’s statement \u003c/a>lists each of the 50 defendants, along with some basic facts about them and the charges they face:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>William Rick Singer\u003c/strong>, 58, of Newport Beach, Calif., owner of the Edge College & Career Network and CEO of the Key Worldwide Foundation, was charged in an Information with racketeering conspiracy, money laundering conspiracy, conspiracy to defraud the United States, and obstruction of justice. … [Singer pleaded guilty on Tuesday.]\u003c/li>\n\u003cli>\u003cstrong>Mark Riddell\u003c/strong>, 36, of Palmetto, Fla., was charged in an Information with conspiracy to commit mail fraud and honest services mail fraud as well as conspiracy to commit money laundering;\u003c/li>\n\u003cli>\u003cstrong>Rudolph “Rudy” Meredith\u003c/strong>, 51, of Madison, Conn., the former head women’s soccer coach at Yale University, was charged in an Information with conspiracy to commit wire fraud and honest services wire fraud as well as honest services wire fraud;\u003c/li>\n\u003cli>\u003cstrong>John Vandemoer\u003c/strong>, 41, of Stanford, Calif., the former sailing coach at Stanford University, was charged in an Information with racketeering conspiracy. [Vandemoer pleaded guilty before a federal court in Boston on Tuesday.]\u003c/li>\n\u003cli>\u003cstrong>David Sidoo\u003c/strong>, 59, of Vancouver, Canada, was charged in an indictment with conspiracy to commit mail and wire fraud. Sidoo was arrested on Friday, March 8\u003csup>th\u003c/sup> in San Jose, Calif., and appeared in U.S. District Court for the Northern District of California [on Monday]. A date for his initial appearance in federal court in Boston has not yet been scheduled.\u003c/li>\n\u003c/ol>\n\u003cp>The following defendants were charged in an indictment with racketeering conspiracy:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Igor Dvorskiy\u003c/strong>, 52, of Sherman Oaks, Calif., director of a private elementary and high school in Los Angeles and a test administrator for the College Board and ACT;\u003c/li>\n\u003cli>\u003cstrong>Gordon Ernst\u003c/strong>, 52, of Chevy Chase, Md., former head coach of men and women’s tennis at Georgetown University;\u003c/li>\n\u003cli>\u003cstrong>William Ferguson\u003c/strong>, 48, of Winston-Salem, N.C., former women’s volleyball coach at Wake Forest University;\u003c/li>\n\u003cli>\u003cstrong>Martin Fox\u003c/strong>, 62, of Houston, Texas, president of a private tennis academy in Houston;\u003c/li>\n\u003cli>\u003cstrong>Donna Heinel\u003c/strong>, 57, of Long Beach, Calif., the senior associate athletic director at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Laura Janke\u003c/strong>, 36, of North Hollywood, Calif., former assistant coach of women’s soccer at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Ali Kho[s]roshahin\u003c/strong>, 49, of Fountain Valley, Calif., former head coach of women’s soccer at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Steven Masera\u003c/strong>, 69, of Folsom, Calif., accountant and financial officer for the Edge College & Career Network and the Key Worldwide Foundation;\u003c/li>\n\u003cli>\u003cstrong>Jorge Salcedo\u003c/strong>, 46, of Los Angeles, Calif., former head coach of men’s soccer at the University of California at Los Angeles;\u003c/li>\n\u003cli>\u003cstrong>Mikaela Sanford\u003c/strong>, 32, of Folsom, Calif., employee of the Edge College & Career Network and the Key Worldwide Foundation;\u003c/li>\n\u003cli>\u003cstrong>Jovan Vavic\u003c/strong>, 57, of Rancho Palos Verdes, Calif., former water polo coach at the University of Southern California; and\u003c/li>\n\u003cli>\u003cstrong>Niki Williams\u003c/strong>, 44, of Houston, Texas, assistant teacher at a Houston high school and test administrator for the College Board and ACT.\u003c/li>\n\u003c/ol>\n\u003cp>The following defendant was charged in a criminal complaint with conspiracy to commit mail fraud and honest services mail fraud:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Michael Center\u003c/strong>, 54, of Austin Texas, head coach of men’s tennis at the University of Texas at Austin\u003c/li>\n\u003c/ol>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The following defendants were charged in a criminal complaint with conspiracy to commit mail and wire fraud:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Gregory Abbott\u003c/strong>, 68, of New York, N.Y., the founder and chairman of a food and beverage packaging company;\u003c/li>\n\u003cli>\u003cstrong>Marcia Abbott\u003c/strong>, 59, of New York, N.Y.;\u003c/li>\n\u003cli>\u003cstrong>Gamal Abdelaziz\u003c/strong>, 62, of Las Vegas, Nev., the former senior executive of a resort and casino operator in Macau, China;\u003c/li>\n\u003cli>\u003cstrong>Diane Blake\u003c/strong>, 55, of San Francisco, Calif., an executive at a retail merchandising firm;\u003c/li>\n\u003cli>\u003cstrong>Todd Blake\u003c/strong>, 53, of San Francisco, Calif., an entrepreneur and investor;\u003c/li>\n\u003cli>\u003cstrong>Jane Buckingham\u003c/strong>, 50, of Beverly Hills, Calif., the CEO of a boutique marketing company;\u003c/li>\n\u003cli>\u003cstrong>Gordon Caplan\u003c/strong>, 52, of Greenwich, Conn., co-chairman of an international law firm based in New York City;\u003c/li>\n\u003cli>\u003cstrong>I-Hin “Joey” Chen\u003c/strong>, 64, of Newport Beach, Calif., operates a provider of warehousing and related services for the shipping industry;\u003c/li>\n\u003cli>\u003cstrong>Amy Colburn\u003c/strong>, 59, of Palo Alto, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Gregory Colburn\u003c/strong>, 61, of Palo Alto, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Robert Flaxman\u003c/strong>, 62, of Laguna Beach, Calif., founder and CEO of real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Mossimo Giannulli\u003c/strong>, 55, of Los Angeles, Calif., fashion designer;\u003c/li>\n\u003cli>\u003cstrong>Elizabeth Henriquez\u003c/strong>, 56, of Atherton, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Manuel Henriquez\u003c/strong>, 55, of Atherton, Calif., founder, chairman and CEO of a publicly traded specialty finance company;\u003c/li>\n\u003cli>\u003cstrong>Douglas Hodge\u003c/strong>, 61, of Laguna Beach, Calif., former CEO of investment management company;\u003c/li>\n\u003cli>\u003cstrong>Felicity Huffman\u003c/strong>, 56, of Los Angeles, Calif., an actress;\u003c/li>\n\u003cli>\u003cstrong>Agustin Huneeus Jr.\u003c/strong>, 53, of San Francisco, Calif., owner of wine vineyards;\u003c/li>\n\u003cli>\u003cstrong>Bruce Isackson\u003c/strong>, 61, of Hillsborough, Calif., president of a real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Davina Isackson\u003c/strong>, 55, of Hillsborough, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Michelle Janavs\u003c/strong>, 48, of Newport Coast, Calif., former executive of a large food manufacturer;\u003c/li>\n\u003cli>\u003cstrong>Elisabeth Kimmel\u003c/strong>, 54, of Las Vegas, Nev., owner and president of a media company;\u003c/li>\n\u003cli>\u003cstrong>Marjorie Klapper\u003c/strong>, 50, of Menlo Park, Calif., co-owner of jewelry business;\u003c/li>\n\u003cli>\u003cstrong>Lori Loughlin\u003c/strong>, 54, of Los Angeles, Calif., an actress;\u003c/li>\n\u003cli>\u003cstrong>Toby MacFarlane\u003c/strong>, 56, of Del Mar, Calif., former senior executive at a title insurance company;\u003c/li>\n\u003cli>\u003cstrong>William McGlashan Jr.\u003c/strong>, 55, of Mill Valley, Calif., senior executive at a global equity firm;\u003c/li>\n\u003cli>\u003cstrong>Marci Palatella\u003c/strong>, 63, of Healdsburg, Calif., CEO of a liquor distribution company;\u003c/li>\n\u003cli>\u003cstrong>Peter Jan Sartorio\u003c/strong>, 53, of Menlo Park, Calif., packaged food entrepreneur;\u003c/li>\n\u003cli>\u003cstrong>Stephen Semprevivo\u003c/strong>, 53, of Los Angeles, Calif., executive at privately held provider of outsourced sales teams;\u003c/li>\n\u003cli>\u003cstrong>Devin Sloane\u003c/strong>, 53, of Los Angeles, Calif., founder and CEO of provider of drinking and wastewater systems;\u003c/li>\n\u003cli>\u003cstrong>John Wilson\u003c/strong>, 59, of Hyannis Port, Mass., founder and CEO of private equity and real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Homayoun Zadeh\u003c/strong>, 57, of Calabasas, Calif., an associate professor of dentistry; and\u003c/li>\n\u003cli>\u003cstrong>Robert Zangrillo\u003c/strong>, 52, of Miami, Fla., founder and CEO of private investment firm.\u003c/li>\n\u003c/ol>\n\u003cdiv class=\"fullattribution\">\n\u003cp>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=U.S.+Charges+Dozens+Of+Parents%2C+Coaches+In+Massive+College+Admissions+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This story includes reporting from The Associated Press\u003c/em>\u003c/p>\n\u003c/div>\n\n",
"blocks": [],
"excerpt": "Actresses Felicity Huffman and Lori Loughlin are among 33 parents who paid large sums of money to cheat admissions standards at prestigious schools, federal prosecutors say. ",
"status": "publish",
"parent": 0,
"modified": 1726767211,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 47,
"wordCount": 2738
},
"headData": {
"title": "Massive College Admissions Scandal Includes Bay Area Parents, Hollywood Actors | KQED",
"description": "Actresses Felicity Huffman and Lori Loughlin are among 33 parents who paid large sums of money to cheat admissions standards at prestigious schools, federal prosecutors say. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Massive College Admissions Scandal Includes Bay Area Parents, Hollywood Actors",
"datePublished": "2019-03-12T12:00:28-07:00",
"dateModified": "2024-09-19T10:33:31-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Bill Chappell, Merrit Kennedy, KQED Arts Staff",
"nprImageAgency": "AP",
"nprStoryId": "702539140",
"nprApiLink": "http://api.npr.org/query?id=702539140&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2019/03/12/702539140/u-s-accuses-actresses-others-of-fraud-in-wide-college-admissions-scandal?ft=nprml&f=702539140",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 13 Mar 2019 08:50:00 -0400",
"nprStoryDate": "Tue, 12 Mar 2019 12:00:28 -0400",
"nprLastModifiedDate": "Wed, 13 Mar 2019 08:50:29 -0400",
"path": "/arts/13852765/u-s-accuses-actresses-others-of-fraud-in-massive-college-admissions-scandal",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 4:00 p.m., Wednesday:\u003c/strong>\u003c/p>\n\u003cp>BOSTON (AP) — The latest on a college admissions bribery scandal that has led to charges against coaches and celebrities:\u003c/p>\n\u003cp>A federal judge says “Full House” actress Lori Loughlin (LAWK’-lin) can be released after posting $1 million bond in a case in which she and her husband are accused of paying bribes to get their daughters into college.\u003c/p>\n\u003cp>Loughlin stood with her lawyer in the Los Angeles courtroom Wednesday and didn’t speak except to answer “yes” to the judge’s questions. Magistrate Judge Steve Kim said Loughlin must limit her travel to the continental U.S. and areas around Vancouver, Canada, for work.\u003c/p>\n\u003cp>Dozens of defendants in the alleged nationwide scheme, including Loughlin’s husband fashion designer Mossimo Giannulli, were arrested Tuesday. Giannulli posted bond and was released Tuesday.\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>Prosecutors allege the couple paid $500,000 to have their daughters labeled as crew-team recruits at the University of Southern California, even though neither is a rower.\u003c/p>\n\u003cp>Federal officials have charged dozens of well-heeled parents, including actresses Felicity Huffman and Lori Loughlin, in what the Justice Department says was a multimillion-dollar scheme to cheat college admissions standards. The parents allegedly paid a consultant who then fabricated academic and athletic credentials and arranged bribes to help get their children into prestigious universities.\u003c/p>\n\u003cp>“We’re talking about deception and fraud — fake test scores, fake credentials, fake photographs, bribed college officials,” Andrew Lelling, U.S. attorney for the District of Massachusetts, said at a news conference Tuesday in Boston.\u003c/p>\n\u003cp>Lelling said 33 parents “paid enormous sums” to try to ensure that their children got into universities such as Stanford and Yale, sending money to entities controlled by a California man named William Rick Singer in return for obtaining false records and false scores on important tests such as the SAT and ACT.\u003c/p>\n\u003cp>Singer also presented his clients’ children as elite athletes, Lelling said. “In many instances, Singer helped parents take staged photographs of their children engaged in particular sports,” he said. “Other times, Singer and his associates used stock photos that they pulled off the Internet — sometimes photoshopping the face of the child onto the picture of the athlete” and submitting them to desirable schools.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.justice.gov/file/1142876/download\">a report\u003c/a> submitted to the U.S. Department of Justice, Agustin Huneeus Jr., 53, of San Francisco, Calif., owner of Huneeus Vinters, allegedly paid for fraudulent SAT scores and a fabricated athletic profile that falsely identified her as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with the following photograph, which is of another individual.\u003c/p>\n\u003cfigure id=\"attachment_13852782\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852782\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter.jpg\" alt=\"A fabricated athletic profile falsely identified Augustin Huneeus Jr.'s daughter as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with this fabricated photograph, which is of another individual.\" width=\"664\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter.jpg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter-160x132.jpg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">A fabricated athletic profile falsely identified Augustin Huneeus Jr.’s daughter as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with this fabricated photograph, which is of another individual. \u003ccite>(U.S. Department of Justice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Singer’s clients paid him anywhere between $200,000 and $6.5 million for this service,” Lelling said. The alleged scheme, he noted, was uncovered after his office got a lead from someone who “was a target of an entirely separate investigation, who gave us a tip that this activity might be going on.”\u003c/p>\n\u003cp>The scope of the case is massive — a total of 50 people have been charged in the admissions scheme. More than three dozen people in multiple states were taken into custody Tuesday as part of “Operation Varsity Blues,” said Joseph Bonavolonta, special agent in charge of the FBI’s Boston division, at the news conference.\u003c/p>\n\u003cp>A judge in Los Angeles ruled Tuesday that Huffman could be released on $250,000 bond and Loughlin’s husband, fashion designer Mossimo Giannulli, could be released on $1 million bond. Loughlin has not yet been arrested.\u003c/p>\n\u003cp>The scheme operated from 2011 through February 2019, Lelling said, adding that in most cases, parents paid Singer between $250,000 and $400,000 per student.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "documentcloud",
"attributes": {
"named": {
"url": "”https://www.documentcloud.org/documents/5766750-Complaint.html”",
"width": "800",
"height": "800",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These parents are a catalog of wealth and privilege,” Lelling said. “They include, for example, CEOs of private and public companies, successful securities and real estate investors, two well-known actresses, a famous fashion designer and the co-chairman of a global law firm.”\u003c/p>\n\u003cp>The parents were already able to give their children “every legitimate advantage,” but instead they “chose to corrupt and illegally manipulate the system for their benefit,” Lelling said.\u003c/p>\n\u003cp>“There will not be a separate admissions system for the wealthy,” he added. “And there will not be a separate criminal justice system either.”\u003c/p>\n\u003cp>The parents were charged with conspiracy to commit mail fraud and honest-services mail fraud. Other defendants in the case include university athletic coaches and college exam administrators — some of whom are accused of accepting bribes.\u003c/p>\n\u003cp>The charges are part of a complex case that has been kept under seal. Documents related to the case were revealed Tuesday, as Singer pleaded guilty to a number of federal crimes from conspiracy to commit racketeering and money laundering to obstruction of justice, according to Lelling. A former head sailing coach at Stanford, John Vandemoer, also pleaded guilty Tuesday.\u003c/p>\n\u003cp>Singer “owned and operated the Edge College & Career Network LLC (‘The Key’) – a for-profit college counseling and preparation business – and served as the CEO of the Key Worldwide Foundation (KWF) – a non-profit corporation that he established as a purported charity,” the Justice Department \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">said in a statement\u003c/a>.\u003c/p>\n\u003cp>On \u003ca href=\"http://thekeyworldwide.com/getintocollege/why_the_key.html\">its website\u003c/a>, The Key promises to “unlock the door to academic, social, personal and career success.” The \u003ca href=\"http://thekeyworldwide.com/foundation/the_key_foundation.html\">foundation says\u003c/a> it “has touched the lives of hundreds of students that would never have been exposed to what higher education could do for them.”\u003c/p>\n\u003cp>Court documents state that the following schools were targeted as part of a “student-athlete recruitment scam”: Yale University, the University of Southern California, Georgetown University, UCLA, Wake Forest University, Stanford University, the University of San Diego and the \u003ca href=\"https://www.kut.org/post/ut-austin-tennis-coach-accepted-nearly-100000-college-admission-scheme-authorities-say\">University of Texas, Austin\u003c/a>.\u003c/p>\n\u003cp>Parents allegedly paid Singer a total of about $25 million that was then funneled into bribes for coaches and a university athletic administrator, according to court documents. In return, the students were allegedly designated as “recruited athletes,” which could increase their chances at gaining admission.\u003c/p>\n\u003cp>For example, the indictment states that “Singer and his co-conspirators made payments totaling $250,000 to a bank account at USC that funded [then USC head water polo coach Jovan Vavic’s] water polo team.” Vavic then allegedly designated two students as water polo recruits. The complaint also says that Singer contributed to the private school tuition for Vavic’s children in exchange for his “commitment to designate Singer’s clients as recruits for the USC water polo team in the future.”\u003c/p>\n\u003cp>USC said in a statement that it is carrying out an internal investigation into Vavic and other current and former employees who have been charged “and will take employment actions as appropriate.”\u003c/p>\n\u003cp>In another example of the scam, Lelling said former Yale women’s soccer coach Rudy Meredith took $400,000 to designate a potential student as a recruit for the team — boosting the student’s admission prospects — despite knowing that the student didn’t play the sport competitively.\u003c/p>\n\u003cp>Once the student was accepted to Yale, her relatives paid Singer approximately $1.2 million, including $900,000 to one of KWF’s charitable accounts, according to court documents.\u003c/p>\n\u003cp>Last April, Meredith allegedly met with the father of a second prospective student in a hotel room in Boston — a meeting that was secretly recorded by the FBI. In it, Meredith offered to designate the man’s daughter as a soccer recruit in exchange for $450,000, court documents state.\u003c/p>\n\u003cp>Meredith resigned his long-held post in November. In a statement to NPR, a Yale representative said: “As the indictment makes clear, the Department of Justice believes that Yale has been the victim of a crime perpetrated by its former women’s soccer coach. The university has cooperated fully in the investigation and will continue to cooperate as the case moves forward.”\u003c/p>\n\u003cp>The court documents also detail numerous examples of how the test score scheme worked.\u003c/p>\n\u003cp>The Justice Department said Singer sought to manipulate college entrance exams either by gaining extra time for his clients’ children to take the SAT and ACT through bogus claims of learning disabilities or by bribing test officials outright.\u003c/p>\n\u003cp>Singer also orchestrated scenarios under which students took tests overseen by test administrators at two locations, at a public high school in Houston and at a private college prep school in West Hollywood, Calif. Federal prosecutors say Singer paid administrators Niki Williams (in Houston) and Igor Dvorskiy (in California) bribes of as much as $10,000 per test.\u003c/p>\n\u003cp>To ensure a high score, Singer allegedly arranged for a third person “to take the exams in place of the students, to give the students the correct answers during the exams, or to correct the students’ answers” after they took the test, the \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">Justice Department said\u003c/a>. That role allegedly was often played by 36-year-old Mark Riddell of Palmetto, Fla.\u003c/p>\n\u003cp>“Singer’s clients paid him between $15,000 and $75,000 per test, with the payments structured as purported donations” to a purported charity that Singer controlled, the Justice Department said. “In many instances, the students taking the exams were unaware that their parents had arranged for the cheating.”\u003c/p>\n\u003cp>Bribe payments were allegedly disguised as charitable payments to Singer’s foundation, the KWF, the Justice Department says — an arrangement that enabled the clients to “deduct the bribes from their federal income taxes.”\u003c/p>\n\u003cp>On its website, KWF describes many of the students it has helped as having “only known life on the streets, surrounded by the gang violence of the inner-city.”\u003c/p>\n\u003cp>The foundation says it has worked with a number of groups, from Los Angeles-based LadyLike Foundation to the Houston Hoops youth basketball program.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">Justice Department’s statement \u003c/a>lists each of the 50 defendants, along with some basic facts about them and the charges they face:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>William Rick Singer\u003c/strong>, 58, of Newport Beach, Calif., owner of the Edge College & Career Network and CEO of the Key Worldwide Foundation, was charged in an Information with racketeering conspiracy, money laundering conspiracy, conspiracy to defraud the United States, and obstruction of justice. … [Singer pleaded guilty on Tuesday.]\u003c/li>\n\u003cli>\u003cstrong>Mark Riddell\u003c/strong>, 36, of Palmetto, Fla., was charged in an Information with conspiracy to commit mail fraud and honest services mail fraud as well as conspiracy to commit money laundering;\u003c/li>\n\u003cli>\u003cstrong>Rudolph “Rudy” Meredith\u003c/strong>, 51, of Madison, Conn., the former head women’s soccer coach at Yale University, was charged in an Information with conspiracy to commit wire fraud and honest services wire fraud as well as honest services wire fraud;\u003c/li>\n\u003cli>\u003cstrong>John Vandemoer\u003c/strong>, 41, of Stanford, Calif., the former sailing coach at Stanford University, was charged in an Information with racketeering conspiracy. [Vandemoer pleaded guilty before a federal court in Boston on Tuesday.]\u003c/li>\n\u003cli>\u003cstrong>David Sidoo\u003c/strong>, 59, of Vancouver, Canada, was charged in an indictment with conspiracy to commit mail and wire fraud. Sidoo was arrested on Friday, March 8\u003csup>th\u003c/sup> in San Jose, Calif., and appeared in U.S. District Court for the Northern District of California [on Monday]. A date for his initial appearance in federal court in Boston has not yet been scheduled.\u003c/li>\n\u003c/ol>\n\u003cp>The following defendants were charged in an indictment with racketeering conspiracy:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Igor Dvorskiy\u003c/strong>, 52, of Sherman Oaks, Calif., director of a private elementary and high school in Los Angeles and a test administrator for the College Board and ACT;\u003c/li>\n\u003cli>\u003cstrong>Gordon Ernst\u003c/strong>, 52, of Chevy Chase, Md., former head coach of men and women’s tennis at Georgetown University;\u003c/li>\n\u003cli>\u003cstrong>William Ferguson\u003c/strong>, 48, of Winston-Salem, N.C., former women’s volleyball coach at Wake Forest University;\u003c/li>\n\u003cli>\u003cstrong>Martin Fox\u003c/strong>, 62, of Houston, Texas, president of a private tennis academy in Houston;\u003c/li>\n\u003cli>\u003cstrong>Donna Heinel\u003c/strong>, 57, of Long Beach, Calif., the senior associate athletic director at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Laura Janke\u003c/strong>, 36, of North Hollywood, Calif., former assistant coach of women’s soccer at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Ali Kho[s]roshahin\u003c/strong>, 49, of Fountain Valley, Calif., former head coach of women’s soccer at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Steven Masera\u003c/strong>, 69, of Folsom, Calif., accountant and financial officer for the Edge College & Career Network and the Key Worldwide Foundation;\u003c/li>\n\u003cli>\u003cstrong>Jorge Salcedo\u003c/strong>, 46, of Los Angeles, Calif., former head coach of men’s soccer at the University of California at Los Angeles;\u003c/li>\n\u003cli>\u003cstrong>Mikaela Sanford\u003c/strong>, 32, of Folsom, Calif., employee of the Edge College & Career Network and the Key Worldwide Foundation;\u003c/li>\n\u003cli>\u003cstrong>Jovan Vavic\u003c/strong>, 57, of Rancho Palos Verdes, Calif., former water polo coach at the University of Southern California; and\u003c/li>\n\u003cli>\u003cstrong>Niki Williams\u003c/strong>, 44, of Houston, Texas, assistant teacher at a Houston high school and test administrator for the College Board and ACT.\u003c/li>\n\u003c/ol>\n\u003cp>The following defendant was charged in a criminal complaint with conspiracy to commit mail fraud and honest services mail fraud:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Michael Center\u003c/strong>, 54, of Austin Texas, head coach of men’s tennis at the University of Texas at Austin\u003c/li>\n\u003c/ol>\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>The following defendants were charged in a criminal complaint with conspiracy to commit mail and wire fraud:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Gregory Abbott\u003c/strong>, 68, of New York, N.Y., the founder and chairman of a food and beverage packaging company;\u003c/li>\n\u003cli>\u003cstrong>Marcia Abbott\u003c/strong>, 59, of New York, N.Y.;\u003c/li>\n\u003cli>\u003cstrong>Gamal Abdelaziz\u003c/strong>, 62, of Las Vegas, Nev., the former senior executive of a resort and casino operator in Macau, China;\u003c/li>\n\u003cli>\u003cstrong>Diane Blake\u003c/strong>, 55, of San Francisco, Calif., an executive at a retail merchandising firm;\u003c/li>\n\u003cli>\u003cstrong>Todd Blake\u003c/strong>, 53, of San Francisco, Calif., an entrepreneur and investor;\u003c/li>\n\u003cli>\u003cstrong>Jane Buckingham\u003c/strong>, 50, of Beverly Hills, Calif., the CEO of a boutique marketing company;\u003c/li>\n\u003cli>\u003cstrong>Gordon Caplan\u003c/strong>, 52, of Greenwich, Conn., co-chairman of an international law firm based in New York City;\u003c/li>\n\u003cli>\u003cstrong>I-Hin “Joey” Chen\u003c/strong>, 64, of Newport Beach, Calif., operates a provider of warehousing and related services for the shipping industry;\u003c/li>\n\u003cli>\u003cstrong>Amy Colburn\u003c/strong>, 59, of Palo Alto, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Gregory Colburn\u003c/strong>, 61, of Palo Alto, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Robert Flaxman\u003c/strong>, 62, of Laguna Beach, Calif., founder and CEO of real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Mossimo Giannulli\u003c/strong>, 55, of Los Angeles, Calif., fashion designer;\u003c/li>\n\u003cli>\u003cstrong>Elizabeth Henriquez\u003c/strong>, 56, of Atherton, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Manuel Henriquez\u003c/strong>, 55, of Atherton, Calif., founder, chairman and CEO of a publicly traded specialty finance company;\u003c/li>\n\u003cli>\u003cstrong>Douglas Hodge\u003c/strong>, 61, of Laguna Beach, Calif., former CEO of investment management company;\u003c/li>\n\u003cli>\u003cstrong>Felicity Huffman\u003c/strong>, 56, of Los Angeles, Calif., an actress;\u003c/li>\n\u003cli>\u003cstrong>Agustin Huneeus Jr.\u003c/strong>, 53, of San Francisco, Calif., owner of wine vineyards;\u003c/li>\n\u003cli>\u003cstrong>Bruce Isackson\u003c/strong>, 61, of Hillsborough, Calif., president of a real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Davina Isackson\u003c/strong>, 55, of Hillsborough, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Michelle Janavs\u003c/strong>, 48, of Newport Coast, Calif., former executive of a large food manufacturer;\u003c/li>\n\u003cli>\u003cstrong>Elisabeth Kimmel\u003c/strong>, 54, of Las Vegas, Nev., owner and president of a media company;\u003c/li>\n\u003cli>\u003cstrong>Marjorie Klapper\u003c/strong>, 50, of Menlo Park, Calif., co-owner of jewelry business;\u003c/li>\n\u003cli>\u003cstrong>Lori Loughlin\u003c/strong>, 54, of Los Angeles, Calif., an actress;\u003c/li>\n\u003cli>\u003cstrong>Toby MacFarlane\u003c/strong>, 56, of Del Mar, Calif., former senior executive at a title insurance company;\u003c/li>\n\u003cli>\u003cstrong>William McGlashan Jr.\u003c/strong>, 55, of Mill Valley, Calif., senior executive at a global equity firm;\u003c/li>\n\u003cli>\u003cstrong>Marci Palatella\u003c/strong>, 63, of Healdsburg, Calif., CEO of a liquor distribution company;\u003c/li>\n\u003cli>\u003cstrong>Peter Jan Sartorio\u003c/strong>, 53, of Menlo Park, Calif., packaged food entrepreneur;\u003c/li>\n\u003cli>\u003cstrong>Stephen Semprevivo\u003c/strong>, 53, of Los Angeles, Calif., executive at privately held provider of outsourced sales teams;\u003c/li>\n\u003cli>\u003cstrong>Devin Sloane\u003c/strong>, 53, of Los Angeles, Calif., founder and CEO of provider of drinking and wastewater systems;\u003c/li>\n\u003cli>\u003cstrong>John Wilson\u003c/strong>, 59, of Hyannis Port, Mass., founder and CEO of private equity and real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Homayoun Zadeh\u003c/strong>, 57, of Calabasas, Calif., an associate professor of dentistry; and\u003c/li>\n\u003cli>\u003cstrong>Robert Zangrillo\u003c/strong>, 52, of Miami, Fla., founder and CEO of private investment firm.\u003c/li>\n\u003c/ol>\n\u003cdiv class=\"fullattribution\">\n\u003cp>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=U.S.+Charges+Dozens+Of+Parents%2C+Coaches+In+Massive+College+Admissions+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This story includes reporting from The Associated Press\u003c/em>\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13852765/u-s-accuses-actresses-others-of-fraud-in-massive-college-admissions-scandal",
"authors": [
"byline_arts_13852765"
],
"categories": [
"arts_235",
"arts_75"
],
"tags": [
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13852768",
"label": "arts_137"
},
"arts_13852623": {
"type": "posts",
"id": "arts_13852623",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13852623",
"score": null,
"sort": [
1552341629000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1552341629,
"format": "standard",
"title": "Once Behind Bars, Now Behind the Camera Lens",
"headTitle": "Once Behind Bars, Now Behind the Camera Lens | KQED",
"content": "\u003cp>There’s an uneasy feeling that invades your body the second you walk up the steps and through the metal detectors of the gray concrete edifice that is 850 Bryant Street.\u003c/p>\n\u003cp>Even if you know you haven’t committed a crime—perhaps you’re there to fight a parking violation, or report for jury duty—if you’re a person of color, there’s always an innate fear while visiting government agencies. Often, the ones who work inside those walls hold a position of power over your livelihood, with the ability to arrest, sentence or jail you at their discretion.\u003c/p>\n\u003cp>The most unimaginable reason to be inside this building: to visit the art exhibit currently housed on the walls of the third floor. \u003cem>Visions of Justice\u003c/em> is a story in photographs told by those who’ve been put behind bars, in some cases by the very people who walk these cold, eerie hallways of the Hall of Justice. Introduced with the question “What Does Justice Mean to You?,” the exhibit gives the formerly incarcerated the chance, if only for a brief period, to flip the cards and hold the upper hand in the form of breathtaking photography.\u003c/p>\n\u003cfigure id=\"attachment_13852630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Justice.Hall_-800x522.jpg\" alt=\"The entrance to 'Visions of Justice' at 850 Bryant in San Francisco.\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-1200x783.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The entrance to ‘Visions of Justice’ at 850 Bryant in San Francisco. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[The exhibit] puts you back in a position of power,” photojournalist Brian L. Frank says of the work hung on the hallway walls. Frank, who had his own share of run-ins with the law before turning his life around, served as an instrumental part of \u003cem>Visions of Justice\u003c/em>. As \u003ca href=\"https://www.catchlight.io/catchlight-fellows\" target=\"_blank\" rel=\"noopener noreferrer\">a 2017 CatchLight Fellow\u003c/a>, he visited Pine Grove Youth Conservation Camp, California’s first and last remaining rehabilitative prison camp for offenders who were sentenced as teens. With his camera, he followed a group of them from their incarceration at the facility to their release and journey back home.\u003c/p>\n\u003cp>It was his own past experience with the law that helped him gain their trust.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I saw all these guys who were in this slice of time from my own adolescence, and it was staring me back in the face,” Frank says of his time spent getting to know the inmates at Pine Grove. “Having that similar background, I instantly connected with them on a very personal level.” For Frank, it was important that the guys were not solely the subject of his storytelling; he keeps in touch with many of them. “I want to be there as a mentor,” he says. “A lot of them don’t have good male role models. Just being there, they can call me for advice.”\u003c/p>\n\u003cp>The result is an intimacy in Frank’s photos, hung all alongside the left wall inside the Hall of Justice. (On the day we visit, three of the framed photos have been removed from the walls; the perpetrator remains unknown. “Someone has some serious huevos stealing stuff there, standing on the jail, basically,” an unfazed Frank says.)\u003c/p>\n\u003cfigure id=\"attachment_13852634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Eugene001-800x533.jpg\" alt=\"A homeless man lays wrapped in an American flag in front of the gleaming San Francisco Bay Bridge. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homeless man lays wrapped in an American flag in front of the gleaming San Francisco Bay Bridge. \u003ccite>(Eugene Riley/Visions of Justice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opposite Frank’s work is a wall of photos taken by formerly incarcerated folks, a collaboration between CatchLight, Project Rebound, and the Pulitzer Center on Crisis Reporting. Together, the three entities facilitated a photojournalism workshop at San Francisco State, Frank’s alma mater, where he served as a mentor for the participants of the workshop.\u003c/p>\n\u003cp>“The big deal to me isn’t that my work was going to be there, but it was that the work of my students was going to be seen in this place where people come who affect public policy,” Frank says of their photos. “The fact that my students were going to be empowered in that way and feel like what they have to say can be heard. That to me is a powerful moment.”\u003c/p>\n\u003cp>The student photos—including portraits, candid shots of people going about their day, even a police officer—were taken in the streets where they’re from. All representative of the world they live in, both pre- and post-incarceration.\u003c/p>\n\u003cfigure id=\"attachment_13852633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852633\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After serving nine years behind bars and under surveillance, photographing the police was a difficult and empowering experience for Chris Shurn in San Francisco’s Tenderloin district. \u003ccite>(Chris Shurn/Visions of Justice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Frank’s students with a natural ability for photography was Christopher Shurn. “One of the things he did when I was teaching him [about photography] was go out and photograph a cop,” Frank says. For Shurn, it was the opportunity to use something he learned while doing time.\u003c/p>\n\u003cp>“I knew not to come from certain angles, or do certain things,” Shurn says of approaching the officer. He ended up striking up a conversation about the officer’s cell phone, and how Shurn had served time. That conversation served as a bridge to make the photo happen.\u003c/p>\n\u003cp>Shurn hopes that those who walk by the exhibit, whether purposely or casually, see the photos beyond an artistic eye and think, “these are the people I’m putting away or people I’m hoping to set free,” he says. “Jail is not about crime and punishment. It’s about money. It’s all about numbers.”\u003c/p>\n\u003cfigure id=\"attachment_13852632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Justice.Photos-800x532.jpg\" alt=\"'Visions of Justice' at 850 Bryant in San Francisco.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Visions of Justice’ at 850 Bryant in San Francisco. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frank knows this exhibit wouldn’t have been as effective in a typical gallery, where wealthy donors would be likely to view the photos primarily as artistic expression instead of a tool for conversation about the need for reform in the criminal justice system. More than anything, Frank wants people to see his students as more than just a statistic. As people with the desire to turn their lives around, but who are working with a limited support system.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s important to take our work to places where it can have a direct impact on the issues that the work addresses,” he says. “It feels revolutionary.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1047,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705026495,
"excerpt": "At the Hall of Justice, photos by former inmates offer judges, wardens and the public an intimate view of the formerly incarcerated.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "At the Hall of Justice, photos by former inmates offer judges, wardens and the public an intimate view of the formerly incarcerated.",
"title": "Once Behind Bars, Now Behind the Camera Lens | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Once Behind Bars, Now Behind the Camera Lens",
"datePublished": "2019-03-11T15:00:29-07:00",
"dateModified": "2024-01-11T18:28:15-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "once-behind-bars-now-behind-a-camera-lens",
"status": "publish",
"sticky": false,
"path": "/arts/13852623/once-behind-bars-now-behind-a-camera-lens",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an uneasy feeling that invades your body the second you walk up the steps and through the metal detectors of the gray concrete edifice that is 850 Bryant Street.\u003c/p>\n\u003cp>Even if you know you haven’t committed a crime—perhaps you’re there to fight a parking violation, or report for jury duty—if you’re a person of color, there’s always an innate fear while visiting government agencies. Often, the ones who work inside those walls hold a position of power over your livelihood, with the ability to arrest, sentence or jail you at their discretion.\u003c/p>\n\u003cp>The most unimaginable reason to be inside this building: to visit the art exhibit currently housed on the walls of the third floor. \u003cem>Visions of Justice\u003c/em> is a story in photographs told by those who’ve been put behind bars, in some cases by the very people who walk these cold, eerie hallways of the Hall of Justice. Introduced with the question “What Does Justice Mean to You?,” the exhibit gives the formerly incarcerated the chance, if only for a brief period, to flip the cards and hold the upper hand in the form of breathtaking photography.\u003c/p>\n\u003cfigure id=\"attachment_13852630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Justice.Hall_-800x522.jpg\" alt=\"The entrance to 'Visions of Justice' at 850 Bryant in San Francisco.\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_-1200x783.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Hall_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The entrance to ‘Visions of Justice’ at 850 Bryant in San Francisco. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[The exhibit] puts you back in a position of power,” photojournalist Brian L. Frank says of the work hung on the hallway walls. Frank, who had his own share of run-ins with the law before turning his life around, served as an instrumental part of \u003cem>Visions of Justice\u003c/em>. As \u003ca href=\"https://www.catchlight.io/catchlight-fellows\" target=\"_blank\" rel=\"noopener noreferrer\">a 2017 CatchLight Fellow\u003c/a>, he visited Pine Grove Youth Conservation Camp, California’s first and last remaining rehabilitative prison camp for offenders who were sentenced as teens. With his camera, he followed a group of them from their incarceration at the facility to their release and journey back home.\u003c/p>\n\u003cp>It was his own past experience with the law that helped him gain their trust.\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 saw all these guys who were in this slice of time from my own adolescence, and it was staring me back in the face,” Frank says of his time spent getting to know the inmates at Pine Grove. “Having that similar background, I instantly connected with them on a very personal level.” For Frank, it was important that the guys were not solely the subject of his storytelling; he keeps in touch with many of them. “I want to be there as a mentor,” he says. “A lot of them don’t have good male role models. Just being there, they can call me for advice.”\u003c/p>\n\u003cp>The result is an intimacy in Frank’s photos, hung all alongside the left wall inside the Hall of Justice. (On the day we visit, three of the framed photos have been removed from the walls; the perpetrator remains unknown. “Someone has some serious huevos stealing stuff there, standing on the jail, basically,” an unfazed Frank says.)\u003c/p>\n\u003cfigure id=\"attachment_13852634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Eugene001-800x533.jpg\" alt=\"A homeless man lays wrapped in an American flag in front of the gleaming San Francisco Bay Bridge. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Eugene001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homeless man lays wrapped in an American flag in front of the gleaming San Francisco Bay Bridge. \u003ccite>(Eugene Riley/Visions of Justice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opposite Frank’s work is a wall of photos taken by formerly incarcerated folks, a collaboration between CatchLight, Project Rebound, and the Pulitzer Center on Crisis Reporting. Together, the three entities facilitated a photojournalism workshop at San Francisco State, Frank’s alma mater, where he served as a mentor for the participants of the workshop.\u003c/p>\n\u003cp>“The big deal to me isn’t that my work was going to be there, but it was that the work of my students was going to be seen in this place where people come who affect public policy,” Frank says of their photos. “The fact that my students were going to be empowered in that way and feel like what they have to say can be heard. That to me is a powerful moment.”\u003c/p>\n\u003cp>The student photos—including portraits, candid shots of people going about their day, even a police officer—were taken in the streets where they’re from. All representative of the world they live in, both pre- and post-incarceration.\u003c/p>\n\u003cfigure id=\"attachment_13852633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852633\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ChrisShurn_001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After serving nine years behind bars and under surveillance, photographing the police was a difficult and empowering experience for Chris Shurn in San Francisco’s Tenderloin district. \u003ccite>(Chris Shurn/Visions of Justice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Frank’s students with a natural ability for photography was Christopher Shurn. “One of the things he did when I was teaching him [about photography] was go out and photograph a cop,” Frank says. For Shurn, it was the opportunity to use something he learned while doing time.\u003c/p>\n\u003cp>“I knew not to come from certain angles, or do certain things,” Shurn says of approaching the officer. He ended up striking up a conversation about the officer’s cell phone, and how Shurn had served time. That conversation served as a bridge to make the photo happen.\u003c/p>\n\u003cp>Shurn hopes that those who walk by the exhibit, whether purposely or casually, see the photos beyond an artistic eye and think, “these are the people I’m putting away or people I’m hoping to set free,” he says. “Jail is not about crime and punishment. It’s about money. It’s all about numbers.”\u003c/p>\n\u003cfigure id=\"attachment_13852632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Justice.Photos-800x532.jpg\" alt=\"'Visions of Justice' at 850 Bryant in San Francisco.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Justice.Photos.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Visions of Justice’ at 850 Bryant in San Francisco. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frank knows this exhibit wouldn’t have been as effective in a typical gallery, where wealthy donors would be likely to view the photos primarily as artistic expression instead of a tool for conversation about the need for reform in the criminal justice system. More than anything, Frank wants people to see his students as more than just a statistic. As people with the desire to turn their lives around, but who are working with a limited support system.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s important to take our work to places where it can have a direct impact on the issues that the work addresses,” he says. “It feels revolutionary.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13852623/once-behind-bars-now-behind-a-camera-lens",
"authors": [
"11624"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1118",
"arts_6864",
"arts_596",
"arts_822"
],
"featImg": "arts_13852631",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=news": {
"isFetching": false,
"latestQuery": {
"from": 1320,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3720,
"relation": "eq"
},
"items": [
"arts_13853224",
"arts_13853182",
"arts_13853148",
"arts_13853150",
"arts_13853019",
"arts_13852981",
"arts_13853056",
"arts_13852729",
"arts_13852882",
"arts_13852803",
"arts_13852765",
"arts_13852623"
],
"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_news": {
"isLoading": true
},
"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_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_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_4686": {
"type": "terms",
"id": "arts_4686",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4686",
"found": true
},
"relationships": {},
"featImg": null,
"name": "california historical society",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "california historical society Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4698,
"slug": "california-historical-society",
"isLoading": false,
"link": "/arts/tag/california-historical-society"
},
"arts_1787": {
"type": "terms",
"id": "arts_1787",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1787",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Contemporary Jewish Museum",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Contemporary Jewish Museum Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1799,
"slug": "contemporary-jewish-museum",
"isLoading": false,
"link": "/arts/tag/contemporary-jewish-museum"
},
"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"
},
"arts_1987": {
"type": "terms",
"id": "arts_1987",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1987",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Museum of the African Diaspora",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Museum of the African Diaspora Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1999,
"slug": "museum-of-the-african-diaspora",
"isLoading": false,
"link": "/arts/tag/museum-of-the-african-diaspora"
},
"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_1381": {
"type": "terms",
"id": "arts_1381",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1381",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SFMOMA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SFMOMA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1393,
"slug": "sfmoma",
"isLoading": false,
"link": "/arts/tag/sfmoma"
},
"arts_1040": {
"type": "terms",
"id": "arts_1040",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1040",
"found": true
},
"relationships": {},
"featImg": null,
"name": "YBCA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "YBCA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1057,
"slug": "ybca",
"isLoading": false,
"link": "/arts/tag/ybca"
},
"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_1564": {
"type": "terms",
"id": "arts_1564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Remembrance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1576,
"slug": "remembrance",
"isLoading": false,
"link": "/arts/category/remembrance"
},
"arts_1398": {
"type": "terms",
"id": "arts_1398",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1398",
"found": true
},
"relationships": {},
"featImg": null,
"name": "California",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "California Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1410,
"slug": "california",
"isLoading": false,
"link": "/arts/tag/california"
},
"arts_6929": {
"type": "terms",
"id": "arts_6929",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6929",
"found": true
},
"relationships": {},
"featImg": null,
"name": "in remembrance",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "in remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6941,
"slug": "in-remembrance",
"isLoading": false,
"link": "/arts/tag/in-remembrance"
},
"arts_4681": {
"type": "terms",
"id": "arts_4681",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4681",
"found": true
},
"relationships": {},
"featImg": null,
"name": "los angeles",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "los angeles Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4693,
"slug": "los-angeles",
"isLoading": false,
"link": "/arts/tag/los-angeles"
},
"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_6418": {
"type": "terms",
"id": "arts_6418",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6418",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntf",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntf Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6430,
"slug": "ntf",
"isLoading": false,
"link": "/arts/tag/ntf"
},
"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"
},
"arts_905": {
"type": "terms",
"id": "arts_905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 923,
"slug": "rock",
"isLoading": false,
"link": "/arts/tag/rock"
},
"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_6926": {
"type": "terms",
"id": "arts_6926",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6926",
"found": true
},
"relationships": {},
"featImg": null,
"name": "chase center",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "chase center Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6938,
"slug": "chase-center",
"isLoading": false,
"link": "/arts/tag/chase-center"
},
"arts_1010": {
"type": "terms",
"id": "arts_1010",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1010",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Metallica",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Metallica Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1027,
"slug": "metallica",
"isLoading": false,
"link": "/arts/tag/metallica"
},
"arts_1367": {
"type": "terms",
"id": "arts_1367",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1367",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Symphony",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Symphony Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1379,
"slug": "san-francisco-symphony",
"isLoading": false,
"link": "/arts/tag/san-francisco-symphony"
},
"arts_2137": {
"type": "terms",
"id": "arts_2137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2137",
"found": true
},
"relationships": {},
"featImg": null,
"name": "social media",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "social media Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2149,
"slug": "social-media",
"isLoading": false,
"link": "/arts/tag/social-media"
},
"arts_1845": {
"type": "terms",
"id": "arts_1845",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1845",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Grateful Dead",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Grateful Dead Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1857,
"slug": "grateful-dead",
"isLoading": false,
"link": "/arts/tag/grateful-dead"
},
"arts_1526": {
"type": "terms",
"id": "arts_1526",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1526",
"found": true
},
"relationships": {},
"featImg": null,
"name": "prison",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "prison Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1538,
"slug": "prison",
"isLoading": false,
"link": "/arts/tag/prison"
},
"arts_1985": {
"type": "terms",
"id": "arts_1985",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1985",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Quentin",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Quentin Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1997,
"slug": "san-quentin",
"isLoading": false,
"link": "/arts/tag/san-quentin"
},
"arts_6902": {
"type": "terms",
"id": "arts_6902",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6902",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Cupertino",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Cupertino Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6914,
"slug": "cupertino",
"isLoading": false,
"link": "/arts/tag/cupertino"
},
"arts_1315": {
"type": "terms",
"id": "arts_1315",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1315",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Palo Alto",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Palo Alto Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1327,
"slug": "palo-alto",
"isLoading": false,
"link": "/arts/tag/palo-alto"
},
"arts_1084": {
"type": "terms",
"id": "arts_1084",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1084",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Jose",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Jose Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1101,
"slug": "san-jose",
"isLoading": false,
"link": "/arts/tag/san-jose"
},
"arts_3001": {
"type": "terms",
"id": "arts_3001",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3001",
"found": true
},
"relationships": {},
"featImg": null,
"name": "silicon valley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "silicon valley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3013,
"slug": "silicon-valley",
"isLoading": false,
"link": "/arts/tag/silicon-valley"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_1496": {
"type": "terms",
"id": "arts_1496",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1496",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Poetry",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Poetry Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1508,
"slug": "poetry",
"isLoading": false,
"link": "/arts/tag/poetry"
},
"arts_22253": {
"type": "terms",
"id": "arts_22253",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22253",
"found": true
},
"relationships": {},
"name": "charles schulz",
"slug": "charles-schulz",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "charles schulz Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22265,
"isLoading": false,
"link": "/arts/tag/charles-schulz"
},
"arts_1942": {
"type": "terms",
"id": "arts_1942",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1942",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comics Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1954,
"slug": "comics",
"isLoading": false,
"link": "/arts/tag/comics"
},
"arts_3648": {
"type": "terms",
"id": "arts_3648",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3648",
"found": true
},
"relationships": {},
"featImg": null,
"name": "museums",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "museums Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3660,
"slug": "museums",
"isLoading": false,
"link": "/arts/tag/museums"
},
"arts_22254": {
"type": "terms",
"id": "arts_22254",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22254",
"found": true
},
"relationships": {},
"name": "peanuts",
"slug": "peanuts",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "peanuts Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22266,
"isLoading": false,
"link": "/arts/tag/peanuts"
},
"arts_3838": {
"type": "terms",
"id": "arts_3838",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3838",
"found": true
},
"relationships": {},
"featImg": null,
"name": "features",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "features Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3850,
"slug": "features",
"isLoading": false,
"link": "/arts/tag/features"
},
"arts_5849": {
"type": "terms",
"id": "arts_5849",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5849",
"found": true
},
"relationships": {},
"featImg": null,
"name": "long",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "long Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5861,
"slug": "long",
"isLoading": false,
"link": "/arts/tag/long"
},
"arts_1908": {
"type": "terms",
"id": "arts_1908",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1908",
"found": true
},
"relationships": {},
"featImg": null,
"name": "longreads",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "longreads Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1920,
"slug": "longreads",
"isLoading": false,
"link": "/arts/tag/longreads"
},
"arts_6387": {
"type": "terms",
"id": "arts_6387",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6387",
"found": true
},
"relationships": {},
"featImg": null,
"name": "music venues",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music venues Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6399,
"slug": "music-venues",
"isLoading": false,
"link": "/arts/tag/music-venues"
},
"arts_2628": {
"type": "terms",
"id": "arts_2628",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2628",
"found": true
},
"relationships": {},
"name": "Public Art",
"slug": "public-art",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Public Art | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 2640,
"isLoading": false,
"link": "/arts/tag/public-art"
},
"arts_1879": {
"type": "terms",
"id": "arts_1879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sfac",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sfac Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1891,
"slug": "sfac",
"isLoading": false,
"link": "/arts/tag/sfac"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_6864": {
"type": "terms",
"id": "arts_6864",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6864",
"found": true
},
"relationships": {},
"featImg": null,
"name": "hall of justice",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "hall of justice Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6876,
"slug": "hall-of-justice",
"isLoading": false,
"link": "/arts/tag/hall-of-justice"
},
"arts_822": {
"type": "terms",
"id": "arts_822",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "822",
"found": true
},
"relationships": {},
"featImg": null,
"name": "photography",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "photography Archives | KQED Arts",
"ogDescription": null
},
"ttid": 840,
"slug": "photography",
"isLoading": false,
"link": "/arts/tag/photography"
}
},
"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
}
}
