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_13831210": {
"type": "attachments",
"id": "arts_13831210",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13831210",
"found": true
},
"parent": 13831050,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley--520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley--1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley--160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley--960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley--672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley--375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley-.jpg",
"width": 1024,
"height": 576
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley--1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley--50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley--96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley--800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley--64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley--32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley--150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley--768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley--128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/05/jamel-brinkley--240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1525468343,
"modified": 1539192340,
"caption": "Jamel Brinkley is a National Book Awards finalist in the fiction category. ",
"description": "Jamel Brinkley is a National Book Awards finalist in the fiction category. ",
"title": "jamel brinkley",
"credit": "Arash Saedinia",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13842258": {
"type": "attachments",
"id": "arts_13842258",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13842258",
"found": true
},
"parent": 13842257,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-960x719.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 719
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-e1539034288149.jpg",
"width": 1920,
"height": 1439
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-1020x764.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 764
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-1180x884.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 884
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-1200x899.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 899
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-1920x1439.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1439
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-1180x884.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 884
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-1920x1439.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1439
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/gettyimages-150003193-eeb5e7c874155489cba01a7fe6866fe102830975-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1539034117,
"modified": 1539034277,
"caption": "Sylvester performs with his band at the Los Angeles club Whisky a Go Go in 1972.",
"description": "Sylvester performs with his band at the Los Angeles club Whisky a Go Go in 1972.",
"title": "Sylvester performs with his band at the Los Angeles club Whisky a Go Go in 1972.",
"credit": "Richard Creamer/Michael Ochs Archives/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13842039": {
"type": "attachments",
"id": "arts_13842039",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13842039",
"found": true
},
"parent": 13842012,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/SFAC_COVERb-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1538546289,
"modified": 1538546328,
"caption": "Young Suh, 'In the Beginning,' 2011.",
"description": "Young Suh, 'In the Beginning,' 2011.",
"title": "SFAC_COVERb",
"credit": "Courtesy of San Francisco Arts Commission",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13841904": {
"type": "attachments",
"id": "arts_13841904",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13841904",
"found": true
},
"parent": 13841902,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Beyonce.JayZ_.Levis_.MAIN_-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1538329784,
"modified": 1538337958,
"caption": "Beyonce and Jay-Z perform on the 'On The Run II' tour at Levi's Stadium on Sept. 29, 2018 in Santa Clara, California. ",
"description": "Beyonce and Jay-Z perform on the 'On The Run II' tour at Levi's Stadium on Sept. 29, 2018 in Santa Clara, California. ",
"title": "Beyonce.JayZ.Levis.MAIN",
"credit": "Raven Varona / Parkwood / PictureGroup",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13841860": {
"type": "attachments",
"id": "arts_13841860",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13841860",
"found": true
},
"parent": 13841824,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-520x408.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 408
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-160x126.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 126
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-960x753.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 753
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-375x294.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 294
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut.jpg",
"width": 1920,
"height": 1506
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-1020x800.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 800
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-1180x926.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 926
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-1200x941.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 941
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-800x628.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 628
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-1920x1506.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1506
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-1180x926.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 926
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-1920x1506.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1506
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-768x602.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 602
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32991_2-2014.43.2893_Warhol_with_shadow-qut-240x188.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 188
}
},
"publishDate": 1538166787,
"modified": 1538166847,
"caption": "Contact Sheet featuring Andy Warhol, 1986. Gelatin silver print. ",
"description": "Contact Sheet featuring Andy Warhol, 1986. Gelatin silver print. ",
"title": "RS32991_2-2014.43.2893_Warhol_with_shadow-qut",
"credit": "Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13841882": {
"type": "attachments",
"id": "arts_13841882",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13841882",
"found": true
},
"parent": 13841880,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Balin-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Balin-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Balin-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Balin-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Balin.jpg",
"width": 800,
"height": 450
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Balin-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Balin-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Balin-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Balin-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Balin-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Balin-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Balin-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Balin-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Balin-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1538179770,
"modified": 1538179817,
"caption": "Musician Marty Balin of Jefferson Airplane attends The 58th Grammy Awards on February 15, 2016 in Los Angeles, California. ",
"description": "Musician Marty Balin of Jefferson Airplane attends The 58th Grammy Awards on February 15, 2016 in Los Angeles, California. ",
"title": "Balin",
"credit": "Jason Merritt/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13841875": {
"type": "attachments",
"id": "arts_13841875",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13841875",
"found": true
},
"parent": 13841872,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Murios-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1538176817,
"modified": 1538176867,
"caption": "The neon sign after hours at Murio's Trophy Room on Haight Street in San Francisco.",
"description": "The neon sign after hours at Murio's Trophy Room on Haight Street in San Francisco.",
"title": "Murios",
"credit": "Morguefile",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13593408": {
"type": "attachments",
"id": "arts_13593408",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13593408",
"found": true
},
"parent": 13593404,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806.jpg",
"width": 2665,
"height": 1503
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1020x575.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 575
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1920x1083.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1083
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-1920x1083.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1083
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/07/Moti-Kazemi-BBC-Construction-Inc.-Sydney-Goldstein-at-the-Nourse-Theater-for-the-ground-breaking.-Photo-by-Drew-Altizer-e1499293656806-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1499293282,
"modified": 1544487536,
"caption": "City Arts & Lectures longtime leader Sydney Goldstein (right) is retiring after 36 years at the helm of the San Francisco-based public talks presenter. Here she is with one of her main collaborators on the Nourse Theater renovation project, contractor Moti Kazemi. ",
"description": "City Arts & Lectures longtime leader Sydney Goldstein (right) is retiring after 36 years at the helm of the iconic, San Francisco-based public talks presenter. Here she is with one of her main collaborators on the Nouse Theater renovation project, Moti Kazemi. ",
"title": "Moti Kazemi (BBC Construction, Inc.) & Sydney Goldstein at the Nourse Theater for the ground-breaking. Photo by Drew Altizer",
"credit": "Drew Altizer",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13841521": {
"type": "attachments",
"id": "arts_13841521",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13841521",
"found": true
},
"parent": 13841509,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/pandora-ap--520x293.jpeg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/pandora-ap--160x90.jpeg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/pandora-ap--672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/pandora-ap--375x211.jpeg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/pandora-ap-.jpeg",
"width": 800,
"height": 450
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/pandora-ap--50x50.jpeg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/pandora-ap--96x96.jpeg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/pandora-ap--800x450.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/pandora-ap--64x64.jpeg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/pandora-ap--32x32.jpeg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/pandora-ap--150x150.jpeg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/pandora-ap--768x432.jpeg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/pandora-ap--128x128.jpeg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/pandora-ap--240x135.jpeg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1537811382,
"modified": 1537811427,
"caption": "In this Feb. 22, 2018, file photo, the Pandora logo appears above a trading post on the floor of the New York Stock Exchange. Subscription radio company SiriusXM says it’s buying music streaming service Pandora Media Inc. in a stock deal valued at about $3.5 billion that’ll allow it to expand its service beyond cars and into homes and other mobile areas. ",
"description": "In this Feb. 22, 2018, file photo, the Pandora logo appears above a trading post on the floor of the New York Stock Exchange. Subscription radio company SiriusXM says it’s buying music streaming service Pandora Media Inc. in a stock deal valued at about $3.5 billion that’ll allow it to expand its service beyond cars and into homes and other mobile areas. ",
"title": "pandora ap",
"credit": "AP Photo/Richard Drew, File",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13841415": {
"type": "attachments",
"id": "arts_13841415",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13841415",
"found": true
},
"parent": 13841413,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-520x273.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 273
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-160x84.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 84
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-960x505.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 505
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-375x197.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 197
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut.jpg",
"width": 1920,
"height": 1009
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-1020x536.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 536
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-1180x620.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 620
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-1200x631.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 631
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-800x420.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 420
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-1920x1009.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1009
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-1180x620.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 620
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-1920x1009.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1009
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-768x404.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 404
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/RS32930_Screen-Shot-2018-09-21-at-3.08.46-PM-qut-240x126.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 126
}
},
"publishDate": 1537568076,
"modified": 1537626939,
"caption": "Irrfan Khan stars in the 2018 feature film, \"The Song of Scorpions,\" showing in Mountain View as part of the Bay Area South Asian Film Festival.",
"description": "Irrfan Khan stars in the 2018 feature film, \"The Song of Scorpions,\" showing in Mountain View as part of the Bay Area South Asian Film Festival.",
"title": "RS32930_Screen Shot 2018-09-21 at 3.08.46 PM-qut",
"credit": "Photo: Courtesy of Feather Light Films and KNM",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13841294": {
"type": "attachments",
"id": "arts_13841294",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13841294",
"found": true
},
"parent": 13841293,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-e1537469761765.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/gettyimages-83851492_wide-66c7a9d53705b85e0575b6ca66359f600dd9d79e-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1537469611,
"modified": 1537469803,
"caption": "Box-office giant Ticketmaster may have benefitted from looking the other way on ticket scalping-related violations of its own terms of service, a Canadian report revealed on Sep. 19.",
"description": "Box-office giant Ticketmaster may have benefitted from looking the other way on ticket scalping-related violations of its own terms of service, a Canadian report revealed on Sep. 19",
"title": "Box-office giant Ticketmaster may have benefitted from looking the other way on ticket scalping-related violations of its own terms of service, a Canadian report revealed on Sep. 19.",
"credit": "Jamie Squire/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13841263": {
"type": "attachments",
"id": "arts_13841263",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13841263",
"found": true
},
"parent": 0,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/09/Katie.main_.2-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1537428764,
"modified": 1537464837,
"caption": "Katie Hood Morgan is one of a handful of curators recently laid off at Bay Area arts institutions, causing concern for audiences and artists alike.",
"description": "Katie Hood Morgan is one of a handful of curators recently laid off at Bay Area arts institutions, causing concern for audiences and artists alike.",
"title": "Katie.main.2",
"credit": "Gabe Meline/KQED",
"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_13842257": {
"type": "authors",
"id": "byline_arts_13842257",
"meta": {
"override": true
},
"slug": "byline_arts_13842257",
"name": "Rick Karr",
"isLoading": false
},
"byline_arts_13841902": {
"type": "authors",
"id": "byline_arts_13841902",
"meta": {
"override": true
},
"slug": "byline_arts_13841902",
"name": "Montse Reyes",
"isLoading": false
},
"byline_arts_13841880": {
"type": "authors",
"id": "byline_arts_13841880",
"meta": {
"override": true
},
"slug": "byline_arts_13841880",
"name": "Hillel Italie, Associated Press",
"isLoading": false
},
"byline_arts_13841509": {
"type": "authors",
"id": "byline_arts_13841509",
"meta": {
"override": true
},
"slug": "byline_arts_13841509",
"name": "Associated Press",
"isLoading": false
},
"byline_arts_13841293": {
"type": "authors",
"id": "byline_arts_13841293",
"meta": {
"override": true
},
"slug": "byline_arts_13841293",
"name": "Anastasia Tsioulcas",
"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"
},
"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"
},
"slefebvre": {
"type": "authors",
"id": "11091",
"meta": {
"index": "authors_1716337520",
"id": "11091",
"found": true
},
"name": "Sam Lefebvre",
"firstName": "Sam",
"lastName": "Lefebvre",
"slug": "slefebvre",
"email": "sdlefebvre@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Sam Lefebvre is an award-winning reporter at KQED Arts. He has worked as an editor and columnist at the \u003cem>East Bay Express\u003c/em>, \u003cem>SF Weekly \u003c/em>and Impose Magazine, and his journalism and criticism has appeared in \u003cem>The New York Times\u003c/em>, the Guardian and Pitchfork.",
"avatar": "https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g",
"twitter": "Lefebvre_Sam",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Sam Lefebvre | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/slefebvre"
}
},
"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": 123
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=news",
"seeMore": false,
"paginated": true,
"page": 123
}
},
{
"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_13842502": {
"type": "posts",
"id": "arts_13842502",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13842502",
"score": null,
"sort": [
1539195536000
]
},
"guestAuthors": [],
"slug": "bay-area-authors-jamel-brinkley-rae-armantrout-among-national-book-awards-finalists",
"title": "Bay Area Authors Jamel Brinkley, Rae Armantrout Among National Book Awards Finalists",
"publishDate": 1539195536,
"format": "standard",
"headTitle": "Bay Area Authors Jamel Brinkley, Rae Armantrout Among National Book Awards Finalists | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Two authors with significant Bay Area ties are among 25 finalists in five categories of the prestigious National Book Awards, the National Book Foundation announced Wednesday. \u003c/p>\n\u003cp>Short-story collection \u003cem>A Lucky Man\u003c/em> by Jamel Brinkley, a Wallace Stegner Fellow in Fiction at Stanford University, is competing in the fiction category, and \u003cem>Wobble\u003c/em> by Rae Armantrout, a Vallejo-born poet associated with the Language movement, is in the running for poetry. \u003c/p>\n\u003cp>\u003cem>A Lucky Man\u003c/em>, Brinkley’s debut collection, critically examines masculinity through nine short-stories set in Brooklyn and the South Bronx. In a May review, KQED Arts book columnist Ingrid Rojas Contreras \u003ca href=\"https://www.kqed.org/arts/13831050/a-lucky-man-a-feminist-approved-book-about-masculinity\">wrote\u003c/a> that \u003cem>A Lucky Man\u003c/em> “acknowledges male stereotypes while subverting them and exploring the psychic damage they leave in their wake,” while the \u003cem>New Yorker\u003c/em> called it a “trenchant exploration of race and class.” \u003c/p>\n\u003cp>\u003cem>Wobble\u003c/em>, meanwhile, is described by its publisher as “sometimes funny, sometimes alarming” body of poems that “play peek-a-boo with doom.” The Poetry Foundation calls Armantrout a founding member of the West Coast group of avant-garde Language poets. The 71-year-old UC Berkeley and San Francisco State University graduate, who currently teaches literature at UC San Diego, won a Pulitzer Prize in 2010 for \u003cem>Versed\u003c/em>, which was also a National Book Awards finalist. \u003c/p>\n\u003cp>Judges culled the finalists from 1,637 books. In September, Brinkley and Armantrout were \u003ca href=\"https://www.kqed.org/news/11692825/tommy-orange-rebecca-solnit-among-bay-area-authors-longlisted-for-2018-national-book-award\">longlisted\u003c/a> alongside books by four other Bay Area authors: Daniel Gumbiner, Tommy Orange, Elizabeth Partridge and Rebecca Solnit. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Winners of the National Book Awards, now in its 69th year, will be announced Nov. 14 following readings at the New School in New York City. The prize comes with a $10,000 award. \u003c/p>\n\n",
"blocks": [],
"excerpt": "In September, Brinkley and Armantrout were longlisted alongside Daniel Gumbiner, Tommy Orange, Elizabeth Partridge and Rebecca Solnit. ",
"status": "publish",
"parent": 0,
"modified": 1726704848,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 289
},
"headData": {
"title": "Bay Area Authors Jamel Brinkley, Rae Armantrout Among National Book Awards Finalists | KQED",
"description": "In September, Brinkley and Armantrout were longlisted alongside Daniel Gumbiner, Tommy Orange, Elizabeth Partridge and Rebecca Solnit. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bay Area Authors Jamel Brinkley, Rae Armantrout Among National Book Awards Finalists",
"datePublished": "2018-10-10T11:18:56-07:00",
"dateModified": "2024-09-18T17:14:08-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13842502/bay-area-authors-jamel-brinkley-rae-armantrout-among-national-book-awards-finalists",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two authors with significant Bay Area ties are among 25 finalists in five categories of the prestigious National Book Awards, the National Book Foundation announced Wednesday. \u003c/p>\n\u003cp>Short-story collection \u003cem>A Lucky Man\u003c/em> by Jamel Brinkley, a Wallace Stegner Fellow in Fiction at Stanford University, is competing in the fiction category, and \u003cem>Wobble\u003c/em> by Rae Armantrout, a Vallejo-born poet associated with the Language movement, is in the running for poetry. \u003c/p>\n\u003cp>\u003cem>A Lucky Man\u003c/em>, Brinkley’s debut collection, critically examines masculinity through nine short-stories set in Brooklyn and the South Bronx. In a May review, KQED Arts book columnist Ingrid Rojas Contreras \u003ca href=\"https://www.kqed.org/arts/13831050/a-lucky-man-a-feminist-approved-book-about-masculinity\">wrote\u003c/a> that \u003cem>A Lucky Man\u003c/em> “acknowledges male stereotypes while subverting them and exploring the psychic damage they leave in their wake,” while the \u003cem>New Yorker\u003c/em> called it a “trenchant exploration of race and class.” \u003c/p>\n\u003cp>\u003cem>Wobble\u003c/em>, meanwhile, is described by its publisher as “sometimes funny, sometimes alarming” body of poems that “play peek-a-boo with doom.” The Poetry Foundation calls Armantrout a founding member of the West Coast group of avant-garde Language poets. The 71-year-old UC Berkeley and San Francisco State University graduate, who currently teaches literature at UC San Diego, won a Pulitzer Prize in 2010 for \u003cem>Versed\u003c/em>, which was also a National Book Awards finalist. \u003c/p>\n\u003cp>Judges culled the finalists from 1,637 books. In September, Brinkley and Armantrout were \u003ca href=\"https://www.kqed.org/news/11692825/tommy-orange-rebecca-solnit-among-bay-area-authors-longlisted-for-2018-national-book-award\">longlisted\u003c/a> alongside books by four other Bay Area authors: Daniel Gumbiner, Tommy Orange, Elizabeth Partridge and Rebecca Solnit. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Winners of the National Book Awards, now in its 69th year, will be announced Nov. 14 following readings at the New School in New York City. The prize comes with a $10,000 award. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13842502/bay-area-authors-jamel-brinkley-rae-armantrout-among-national-book-awards-finalists",
"authors": [
"11091"
],
"categories": [
"arts_1",
"arts_73",
"arts_235"
],
"tags": [
"arts_9943",
"arts_1118",
"arts_746",
"arts_596"
],
"featImg": "arts_13831210",
"label": "arts"
},
"arts_13842257": {
"type": "posts",
"id": "arts_13842257",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13842257",
"score": null,
"sort": [
1539034801000
]
},
"guestAuthors": [],
"slug": "bigger-than-disco-you-make-me-feel-mighty-real-is-a-celebration-of-self",
"title": "Bigger Than Disco, 'You Make Me Feel (Mighty Real)' Is A Celebration Of Self",
"publishDate": 1539034801,
"format": "standard",
"headTitle": "Bigger Than Disco, ‘You Make Me Feel (Mighty Real)’ Is A Celebration Of Self | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/651794925/655529024\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>Dick Clark couldn’t get his \u003cem>American Bandstand\u003c/em> crowd to stop cheering. It was early December, 1978, around the peak of disco’s popularity — and Clark’s studio audience had just heard Sylvester and his backup singers, Two Tons O’ Fun, perform their first hit, “\u003ca href=\"https://www.youtube.com/watch?v=Nhcm5yWWdAE\">Dance (Disco Heat)\u003c/a>“.\u003c/p>\n\u003cp>After Clark got the crowd to pipe down and conducted an \u003ca href=\"https://www.youtube.com/watch?v=VKKsI2seeTM\">awkward interview\u003c/a>, the gender-bending singer — wearing makeup, a loose kimono and leather pants — performed his follow-up single. The song, “\u003ca href=\"https://www.youtube.com/watch?v=VyAHULpMXKQ\">You Make Me Feel (Mighty Real)\u003c/a>,” hit the top of Billboard’s dance chart that year. Forty years later, its greater legacy is as an \u003ca href=\"https://www.billboard.com/photos/7408710/gay-anthems-lgbt-pride-top-songs\">LGBTQ anthem\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dick Clark Interviews Sylvester - American Bandstand 1978\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/VKKsI2seeTM?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>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a song of freedom,” says \u003ca href=\"https://www.usfca.edu/faculty/joshua-gamson\">Joshua Gamson\u003c/a>, Sylvester’s biographer. In his book \u003ca href=\"https://www.amazon.com/dp/B00DXIU6JQ\">\u003cem>The Fabulous Sylvester: The Legend, The Music, The Seventies in San Francisco\u003c/em>\u003c/a>, Gamson makes the case that the artist became a kind of folk hero for many young LGBTQ people, because his life was theirs.\u003c/p>\n\u003cp>[contextly_sidebar id=”DX8CVmChGyCDKVAere6SHhEx4c61Rsz4″]\u003c/p>\n\u003cp>“You’ve come out of the closet. It’s been difficult,” he says. “Many people [at the time] have moved out of their homes of origin, their families of origin, with great pain, and moved to a more liberated place, like San Francisco. And then … this person comes out into public life that sounds like what you were feeling when you made yourself free.\u003c/p>\n\u003cp>“For him to be celebrated for all of his strangeness and all of the ways he inhabited who he wanted to be — who he felt himself to be — felt like \u003cem>you\u003c/em> being celebrated for that.”\u003c/p>\n\u003cp>And it wasn’t just how Sylvester looked and sounded. The song’s lyrics openly celebrated that liberation:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>When we’re out there dancing on the floor, darlin’\u003cbr>\nAnd I feel like I need some more\u003cbr>\nAnd I feel your body close to mine\u003cbr>\nAnd I know, my love, it’s about that time\u003cbr>\nMake me feel mighty real\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“You’ve got the words of a person who is just matter-of-fact about their sexual desires, about the freedom to do with their bodies and their desires whatever they want to do,” Gamson says. “And you can dance to it!”\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/VyAHULpMXKQ\">http://youtu.be/VyAHULpMXKQ\u003c/a>\u003c/p>\n\u003cp>Sylvester James grew up singing in a Pentecostal church in the Watts neighborhood of Los Angeles. His mother was a devout member of the church and couldn’t accept the early signs of her son’s sexuality.\u003c/p>\n\u003cp>“When I was little, I used to dress up, right? And my mother said, ‘You can’t dress up,’ ” Sylvester told Joan Rivers \u003ca href=\"https://www.youtube.com/watch?v=FNS7VM5oTRU\">when he appeared on The Tonight Show in 1986\u003c/a>. ” ‘You gotta wear these pants and these shoes. And you have to, like, drink beer and play football.’ And I said, ‘No I don’t!’ And she said, ‘You’re very strange.’ And I said, ‘That’s OK!’ ”\u003c/p>\n\u003cp>[contextly_sidebar id=”3WTfhvRC1lCwVO0uNQncpTN6ko1JXC2Y”]\u003c/p>\n\u003cp>“The [Pentecostal] church was oppressive,” says singer Jeanie Tracy, who shared Sylvester’s religious background and became his friend and collaborator. “They just didn’t tolerate gayness. They didn’t tolerate a lot of things. They didn’t allow you to wear makeup. You couldn’t wear toeless shoes or sleeveless dresses. It was just real … controlled.”\u003c/p>\n\u003cp>Too much so for Sylvester. At 13, he left the church. Two years later, he left home. He lived with friends and his grandmother, who accepted him as he was.\u003c/p>\n\u003cp>In his early 20s, Sylvester moved to San Francisco to join an avant-garde theatre troupe called \u003ca href=\"https://en.wikipedia.org/wiki/The_Cockettes\">The Cockettes\u003c/a>, whose fans included Truman Capote and Gloria Vanderbilt. But he left the group soon after — to front his own act. Jeanie Tracy remembers being introduced to him by friends in the music industry.\u003c/p>\n\u003cp>“They said, ‘Oh, Jeanie, this is Sylvester,'” she says. “And I said, ‘Sylvester? I thought you were a woman.’ And then I said, ‘Oops! I’m sorry!’ He goes, ‘Oh, no, girl, that’s okay!'”\u003c/p>\n\u003cp>When guitarist and songwriter James Wirrick saw the singer for the first time, Sylvester was backed by a tight three-piece band and flanked by two drag queens — “in full drag, with full neck-beards,” he laughs.\u003c/p>\n\u003cp>[contextly_sidebar id=”WeX9Pk3YLSO5mIo6h3pmTN2LiUZUIu6M”]\u003c/p>\n\u003cp>Wirrick became Sylvester’s bandmate and collaborator a few months later. By then, the drag queens had been replaced by backup singers Izora Rhodes and Martha Wash, aka Two Tons O’ Fun. (They went on to record another anthem — \u003ca href=\"https://www.youtube.com/watch?v=l5aZJBLAu1E\">“It’s Raining Men”\u003c/a> — as The Weather Girls.) Wirrick and Sylvester wrote “You Make Me Feel (Mighty Real)” together. Getting the rest of the band on board was a challenge.\u003c/p>\n\u003cp>“At first the band didn’t wanna play it as a dance tune,” Wirrick says. “They were kinda snotty about it. ‘We don’t really wanna do that,’ y’know? And Sylvester and I kept saying, ‘No, you have to do that because that’s what’s on the radio.’ ”\u003c/p>\n\u003cp>More than on the radio, the song was huge in discos — and its falsetto vocals, four-on-the-floor beat and bouncing synthesizer influenced generations of electronic dance music producers to follow. Eleven years after the original came out, vocalist Jimmy Sommerville of the British band Bronski Beat \u003ca href=\"https://www.youtube.com/watch?v=nZtdcMIR5do\">paid tribute with a cover\u003c/a>. The following decade, Chicago House vocalist \u003ca href=\"https://www.youtube.com/watch?v=psi7c64mdWk\">Byron Stingily’s version\u003c/a> once again took the song to the top of the U.S. dance chart.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-large wp-image-13842259\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1020x1332.jpg\" alt=\"\" width=\"640\" height=\"836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1020x1332.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-800x1045.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-919x1200.jpg 919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1920x2507.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1180x1541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-960x1253.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-375x490.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-520x679.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22.jpg 1568w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>The song also went on to become the centerpiece of a 2014 \u003ca href=\"https://www.broadway.com/shows/mighty-real-fabulous-sylvester-musical/\">off-Broadway musical\u003c/a> that tells Sylvester’s life story. It’s appeared in ads, films, and TV shows. So far this year, James Wirrick says he’s gotten eight requests for permission to use the song he co-wrote: a video game, three television commercials, three movies and an episode of \u003cem>The Simpsons\u003c/em>.\u003c/p>\n\u003cp>Sylvester never had a mainstream hit after “You Make Me Feel (Mighty Real)”. A year after it came out, Chicago radio DJ Steve Dahl made “Disco sucks!” a rallying cry with his \u003ca href=\"https://en.wikipedia.org/wiki/Disco_Demolition_Night\">“Disco Demolition” promotion between the games of a White Sox doubleheader\u003c/a>; the ensuing melee forced the Sox to forfeit the second game.\u003c/p>\n\u003cp>Joshua Gamson says the event was a reaction by straight white fans of classic rock against a music that they saw as too black and too queer — and that that backlash is partly why he missed the anthem’s power when it first came out.\u003c/p>\n\u003cp>“In a way, if I had felt that earlier, I’d have come out earlier,” he says. “Embracing who you are, celebrating who you are, being as fabulous as you could possibly be, I think that’s the message that he’s preaching in the song. And I could’ve used a dose of that as a teenager.”\u003c/p>\n\u003cp>But Sylvester remained popular among dance music fans, and he leveraged that popularity to raise AIDS awareness. He played benefit shows and distributed safe-sex information to his audiences. When he appeared on \u003cem>The Tonight Show\u003c/em>, he thanked Joan Rivers and guest Charles Nelson Reilly for their early support of what was becoming a movement. “I was there trying to do whatever we could at the time to get it together. And now it’s like a national thing to do,” Sylvester said. “I want to thank you myself.”\u003c/p>\n\u003cp>[contextly_sidebar id=”T2fVkkiaGtKy3pbsh8wpi99OACVQwyoF”]\u003c/p>\n\u003cp>Less than 10 years after “You Make Me Feel (Mighty Real)” came out, Sylvester’s husband died of complications from AIDS. The singer was never tested for HIV — he told friends there was no point, because he knew he had the virus. Within a few months, his own health was deteriorating. But, Jeanie Tracy says, his senses of style and humor stayed intact, even as he was planning his own funeral. “He looked at me and he says, ‘I wanna be buried in a pearl-colored casket,’ ” she recalls. ” ‘Don’t bury me in a white casket, ’cause I don’t wanna look like I’m lyin’ in a white refrigerator!'”\u003c/p>\n\u003cp>A few months before he died, Sylvester appeared in the 1988 gay pride parade in San Francisco. He was emaciated and weak and rode in a wheelchair. But he didn’t want to hide, Gamson says — he wanted the crowds along Castro Street to see him.\u003c/p>\n\u003cp>“It was part of the same almost philosophy of realness — like, this, this is being real,” Gamson says. “This is mighty real, to be marching in the Gay Freedom parade looking, like, 40 years older than you are. And people, knowing that they’ve seen this icon of their freedom, they see him [as] a symbol of the devastation that AIDS took on the community.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sylvester made sure to champion that community even after he died. In his will, he left his share of future royalties for “You Make Me Feel (Mighty Real)” to two San Francisco nonprofits: the \u003ca href=\"https://prcsf.org/aids-emergency-fund/\">AIDS Emergency Fund\u003c/a> and the meals program \u003ca href=\"https://www.openhand.org/\">Project Open Hand\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bigger+Than+Disco%2C+%27You+Make+Me+Feel+%28Mighty+Real%29%27+Is+A+Celebration+Of+Self&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Sylvester's 1978 dance hit transcends its moment and even the gay rights and AIDS awareness movements it came to represent. It's an anthem to liberation — of desire, and of the body.",
"status": "publish",
"parent": 0,
"modified": 1741366813,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 37,
"wordCount": 1669
},
"headData": {
"title": "Bigger Than Disco, 'You Make Me Feel (Mighty Real)' Is A Celebration Of Self | KQED",
"description": "Sylvester's 1978 dance hit transcends its moment and even the gay rights and AIDS awareness movements it came to represent. It's an anthem to liberation — of desire, and of the body.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bigger Than Disco, 'You Make Me Feel (Mighty Real)' Is A Celebration Of Self",
"datePublished": "2018-10-08T14:40:01-07:00",
"dateModified": "2025-03-07T09:00:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Rick Karr",
"nprImageAgency": "Richard Creamer/Michael Ochs Archives/Getty Images",
"nprStoryId": "651794925",
"nprApiLink": "http://api.npr.org/query?id=651794925&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2018/10/08/651794925/sylvester-you-make-me-feel-mighty-real-american-anthem-disco-celebration?ft=nprml&f=651794925",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 08 Oct 2018 09:02:00 -0400",
"nprStoryDate": "Mon, 08 Oct 2018 05:00:00 -0400",
"nprLastModifiedDate": "Mon, 08 Oct 2018 06:17:41 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2018/10/20181008_me_bigger_than_disco_you_make_me_feel_mighty_real_is_a_celebration_of_self.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=421&p=3&story=651794925&ft=nprml&f=651794925",
"nprAudioM3u": "http://api.npr.org/m3u/1655529024-9ae830.m3u?orgId=1&topicId=613820055&aggIds=622671774&d=421&p=3&story=651794925&ft=nprml&f=651794925",
"audioTrackLength": 422,
"path": "/arts/13842257/bigger-than-disco-you-make-me-feel-mighty-real-is-a-celebration-of-self",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2018/10/20181008_me_bigger_than_disco_you_make_me_feel_mighty_real_is_a_celebration_of_self.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=421&p=3&story=651794925&ft=nprml&f=651794925",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/651794925/655529024\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>Dick Clark couldn’t get his \u003cem>American Bandstand\u003c/em> crowd to stop cheering. It was early December, 1978, around the peak of disco’s popularity — and Clark’s studio audience had just heard Sylvester and his backup singers, Two Tons O’ Fun, perform their first hit, “\u003ca href=\"https://www.youtube.com/watch?v=Nhcm5yWWdAE\">Dance (Disco Heat)\u003c/a>“.\u003c/p>\n\u003cp>After Clark got the crowd to pipe down and conducted an \u003ca href=\"https://www.youtube.com/watch?v=VKKsI2seeTM\">awkward interview\u003c/a>, the gender-bending singer — wearing makeup, a loose kimono and leather pants — performed his follow-up single. The song, “\u003ca href=\"https://www.youtube.com/watch?v=VyAHULpMXKQ\">You Make Me Feel (Mighty Real)\u003c/a>,” hit the top of Billboard’s dance chart that year. Forty years later, its greater legacy is as an \u003ca href=\"https://www.billboard.com/photos/7408710/gay-anthems-lgbt-pride-top-songs\">LGBTQ anthem\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dick Clark Interviews Sylvester - American Bandstand 1978\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/VKKsI2seeTM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\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’s a song of freedom,” says \u003ca href=\"https://www.usfca.edu/faculty/joshua-gamson\">Joshua Gamson\u003c/a>, Sylvester’s biographer. In his book \u003ca href=\"https://www.amazon.com/dp/B00DXIU6JQ\">\u003cem>The Fabulous Sylvester: The Legend, The Music, The Seventies in San Francisco\u003c/em>\u003c/a>, Gamson makes the case that the artist became a kind of folk hero for many young LGBTQ people, because his life was theirs.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“You’ve come out of the closet. It’s been difficult,” he says. “Many people [at the time] have moved out of their homes of origin, their families of origin, with great pain, and moved to a more liberated place, like San Francisco. And then … this person comes out into public life that sounds like what you were feeling when you made yourself free.\u003c/p>\n\u003cp>“For him to be celebrated for all of his strangeness and all of the ways he inhabited who he wanted to be — who he felt himself to be — felt like \u003cem>you\u003c/em> being celebrated for that.”\u003c/p>\n\u003cp>And it wasn’t just how Sylvester looked and sounded. The song’s lyrics openly celebrated that liberation:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>When we’re out there dancing on the floor, darlin’\u003cbr>\nAnd I feel like I need some more\u003cbr>\nAnd I feel your body close to mine\u003cbr>\nAnd I know, my love, it’s about that time\u003cbr>\nMake me feel mighty real\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“You’ve got the words of a person who is just matter-of-fact about their sexual desires, about the freedom to do with their bodies and their desires whatever they want to do,” Gamson says. “And you can dance to it!”\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/VyAHULpMXKQ\">http://youtu.be/VyAHULpMXKQ\u003c/a>\u003c/p>\n\u003cp>Sylvester James grew up singing in a Pentecostal church in the Watts neighborhood of Los Angeles. His mother was a devout member of the church and couldn’t accept the early signs of her son’s sexuality.\u003c/p>\n\u003cp>“When I was little, I used to dress up, right? And my mother said, ‘You can’t dress up,’ ” Sylvester told Joan Rivers \u003ca href=\"https://www.youtube.com/watch?v=FNS7VM5oTRU\">when he appeared on The Tonight Show in 1986\u003c/a>. ” ‘You gotta wear these pants and these shoes. And you have to, like, drink beer and play football.’ And I said, ‘No I don’t!’ And she said, ‘You’re very strange.’ And I said, ‘That’s OK!’ ”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“The [Pentecostal] church was oppressive,” says singer Jeanie Tracy, who shared Sylvester’s religious background and became his friend and collaborator. “They just didn’t tolerate gayness. They didn’t tolerate a lot of things. They didn’t allow you to wear makeup. You couldn’t wear toeless shoes or sleeveless dresses. It was just real … controlled.”\u003c/p>\n\u003cp>Too much so for Sylvester. At 13, he left the church. Two years later, he left home. He lived with friends and his grandmother, who accepted him as he was.\u003c/p>\n\u003cp>In his early 20s, Sylvester moved to San Francisco to join an avant-garde theatre troupe called \u003ca href=\"https://en.wikipedia.org/wiki/The_Cockettes\">The Cockettes\u003c/a>, whose fans included Truman Capote and Gloria Vanderbilt. But he left the group soon after — to front his own act. Jeanie Tracy remembers being introduced to him by friends in the music industry.\u003c/p>\n\u003cp>“They said, ‘Oh, Jeanie, this is Sylvester,'” she says. “And I said, ‘Sylvester? I thought you were a woman.’ And then I said, ‘Oops! I’m sorry!’ He goes, ‘Oh, no, girl, that’s okay!'”\u003c/p>\n\u003cp>When guitarist and songwriter James Wirrick saw the singer for the first time, Sylvester was backed by a tight three-piece band and flanked by two drag queens — “in full drag, with full neck-beards,” he laughs.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Wirrick became Sylvester’s bandmate and collaborator a few months later. By then, the drag queens had been replaced by backup singers Izora Rhodes and Martha Wash, aka Two Tons O’ Fun. (They went on to record another anthem — \u003ca href=\"https://www.youtube.com/watch?v=l5aZJBLAu1E\">“It’s Raining Men”\u003c/a> — as The Weather Girls.) Wirrick and Sylvester wrote “You Make Me Feel (Mighty Real)” together. Getting the rest of the band on board was a challenge.\u003c/p>\n\u003cp>“At first the band didn’t wanna play it as a dance tune,” Wirrick says. “They were kinda snotty about it. ‘We don’t really wanna do that,’ y’know? And Sylvester and I kept saying, ‘No, you have to do that because that’s what’s on the radio.’ ”\u003c/p>\n\u003cp>More than on the radio, the song was huge in discos — and its falsetto vocals, four-on-the-floor beat and bouncing synthesizer influenced generations of electronic dance music producers to follow. Eleven years after the original came out, vocalist Jimmy Sommerville of the British band Bronski Beat \u003ca href=\"https://www.youtube.com/watch?v=nZtdcMIR5do\">paid tribute with a cover\u003c/a>. The following decade, Chicago House vocalist \u003ca href=\"https://www.youtube.com/watch?v=psi7c64mdWk\">Byron Stingily’s version\u003c/a> once again took the song to the top of the U.S. dance chart.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-large wp-image-13842259\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1020x1332.jpg\" alt=\"\" width=\"640\" height=\"836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1020x1332.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-800x1045.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-919x1200.jpg 919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1920x2507.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-1180x1541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-960x1253.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-375x490.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22-520x679.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/gettyimages-150003218_custom-6e8d90df126b06dfba6018624392c0d705ad4d22.jpg 1568w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>The song also went on to become the centerpiece of a 2014 \u003ca href=\"https://www.broadway.com/shows/mighty-real-fabulous-sylvester-musical/\">off-Broadway musical\u003c/a> that tells Sylvester’s life story. It’s appeared in ads, films, and TV shows. So far this year, James Wirrick says he’s gotten eight requests for permission to use the song he co-wrote: a video game, three television commercials, three movies and an episode of \u003cem>The Simpsons\u003c/em>.\u003c/p>\n\u003cp>Sylvester never had a mainstream hit after “You Make Me Feel (Mighty Real)”. A year after it came out, Chicago radio DJ Steve Dahl made “Disco sucks!” a rallying cry with his \u003ca href=\"https://en.wikipedia.org/wiki/Disco_Demolition_Night\">“Disco Demolition” promotion between the games of a White Sox doubleheader\u003c/a>; the ensuing melee forced the Sox to forfeit the second game.\u003c/p>\n\u003cp>Joshua Gamson says the event was a reaction by straight white fans of classic rock against a music that they saw as too black and too queer — and that that backlash is partly why he missed the anthem’s power when it first came out.\u003c/p>\n\u003cp>“In a way, if I had felt that earlier, I’d have come out earlier,” he says. “Embracing who you are, celebrating who you are, being as fabulous as you could possibly be, I think that’s the message that he’s preaching in the song. And I could’ve used a dose of that as a teenager.”\u003c/p>\n\u003cp>But Sylvester remained popular among dance music fans, and he leveraged that popularity to raise AIDS awareness. He played benefit shows and distributed safe-sex information to his audiences. When he appeared on \u003cem>The Tonight Show\u003c/em>, he thanked Joan Rivers and guest Charles Nelson Reilly for their early support of what was becoming a movement. “I was there trying to do whatever we could at the time to get it together. And now it’s like a national thing to do,” Sylvester said. “I want to thank you myself.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Less than 10 years after “You Make Me Feel (Mighty Real)” came out, Sylvester’s husband died of complications from AIDS. The singer was never tested for HIV — he told friends there was no point, because he knew he had the virus. Within a few months, his own health was deteriorating. But, Jeanie Tracy says, his senses of style and humor stayed intact, even as he was planning his own funeral. “He looked at me and he says, ‘I wanna be buried in a pearl-colored casket,’ ” she recalls. ” ‘Don’t bury me in a white casket, ’cause I don’t wanna look like I’m lyin’ in a white refrigerator!'”\u003c/p>\n\u003cp>A few months before he died, Sylvester appeared in the 1988 gay pride parade in San Francisco. He was emaciated and weak and rode in a wheelchair. But he didn’t want to hide, Gamson says — he wanted the crowds along Castro Street to see him.\u003c/p>\n\u003cp>“It was part of the same almost philosophy of realness — like, this, this is being real,” Gamson says. “This is mighty real, to be marching in the Gay Freedom parade looking, like, 40 years older than you are. And people, knowing that they’ve seen this icon of their freedom, they see him [as] a symbol of the devastation that AIDS took on the community.”\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>Sylvester made sure to champion that community even after he died. In his will, he left his share of future royalties for “You Make Me Feel (Mighty Real)” to two San Francisco nonprofits: the \u003ca href=\"https://prcsf.org/aids-emergency-fund/\">AIDS Emergency Fund\u003c/a> and the meals program \u003ca href=\"https://www.openhand.org/\">Project Open Hand\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bigger+Than+Disco%2C+%27You+Make+Me+Feel+%28Mighty+Real%29%27+Is+A+Celebration+Of+Self&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13842257/bigger-than-disco-you-make-me-feel-mighty-real-is-a-celebration-of-self",
"authors": [
"byline_arts_13842257"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_3226",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13842258",
"label": "arts_137"
},
"arts_13842012": {
"type": "posts",
"id": "arts_13842012",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13842012",
"score": null,
"sort": [
1538578831000
]
},
"guestAuthors": [],
"slug": "exhibitions-across-the-bay-area-remember-the-north-bay-fires",
"title": "Exhibitions Across the Bay Area Remember the North Bay Fires",
"publishDate": 1538578831,
"format": "image",
"headTitle": "Exhibitions Across the Bay Area Remember the North Bay Fires | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>As Bay Area communities reflect on the days that forever changed their landscape, relationships and local economies, art institutions have stepped up to provide room for that contemplation, proving the necessity of such spaces during the best and worst of times.\u003c/p>\n\u003cp>Exhibitions in museums, libraries and galleries across Sonoma, Napa and San Francisco counties showcase the artwork of those both directly affected by the fires, and those who felt compelled to respond artistically. Now you too can mark the year since by frequenting a few of these thoughtful displays.\u003c/p>\n\u003cfigure id=\"attachment_13842031\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842031\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/SonomaState_victor_640.jpg\" alt=\"Louise Victor, 'Fire and Ashes,' 2018.\" width=\"640\" height=\"676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/SonomaState_victor_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/SonomaState_victor_640-160x169.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/SonomaState_victor_640-240x254.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/SonomaState_victor_640-375x396.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/SonomaState_victor_640-520x549.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Louise Victor, ‘Fire and Ashes,’ 2018. \u003ccite>(Courtesy of Sonoma State University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Reflections: After the Fire’\u003c/h2>\n\u003cp>\u003cb>Aug. 20–Dec. 14, 2018\u003cbr>\n\u003ca href=\"https://library.sonoma.edu/about/gallery/reflections-after-fire\" target=\"_blank\" rel=\"noopener\">Sonoma State University\u003c/a>\u003c/b>\u003c/p>\n\u003cp>The University Library Gallery at Sonoma State exhibits work by 21 people—not just artists, but photographers, videographers, first responders and community members—documenting and responding to the firestorm. The impulses behind their artistic output are varied: some want to process their own feelings through art, others hope to offer a sense of optimism and inspiration in the face of loss. A reception on Oct. 17, from 4–5:30pm, marks the date the campus reopened in 2017, a nod to the school’s perseverance in the face of local disaster.\u003c/p>\n\u003ch2>‘Young Suh: Wildfires’\u003c/h2>\n\u003cp>\u003cb>Sept. 14–Nov. 17, 2018\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/young-suh-wildfires\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission Galleries\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Even though last year’s fires were devastating in their scale, fires have become an annual occurrence throughout California, a fact that allowed Bay Area photographer Young Suh to spend four years working on his series \u003ci>Wildfires\u003c/i>. “Suh’s lush and languid images take the viewer from the comfortable position of being just out of the fire’s path, to standing within feet of the source,” reads the exhibition description. Playing off both our attraction to the beautiful drama of smoke, and our fear of nature’s destructive power, Suh’s images capture a state of “anxious desire.”\u003c/p>\n\u003cfigure id=\"attachment_13842044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-800x532.jpg\" alt=\"Jan Nunn, 'Commune II.'\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13842044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jan Nunn, ‘Commune II.’ \u003ccite>(Courtesy Luther Burbank Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Harmonies: Kati Casida, Catherine Daley and Jann Nunn’\u003c/h2>\n\u003cp>\u003cb>Sept. 13, 2018–Sept. 20, 2020\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/young-suh-wildfires\" target=\"_blank\" rel=\"noopener\">Luther Burbank Center Sculpture Garden\u003c/a>\u003c/b>\u003c/p>\n\u003cp>For any curator, placing a sculpture exhibition in the literal path of the 2017 fire raises a philosophical question: should the art reflect the region’s tragedy? At the Luther Burbank Center, \u003cem>Harmonies\u003c/em> isn’t a fire-obsessed, hit-you-over-the-head exhibition, and it’s better for it. While Nunn’s \u003cem>XLIV\u003c/em>—44 stars symbolizing the 44 lives lost in the fire—could be seen as somber, especially against the still-scarred nearby hills, Anita Wigglesworth tells KQED of \u003cem>Harmonies\u003c/em>, “Once every piece was set, we walked around and all of us said, ‘This is a really \u003cem>joyous\u003c/em> exhibition.’ You never know how everything comes together until it’s there.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13842033\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RISORGERE_640.jpg\" alt=\"Luba Zygarewicz, 'RISORGERE,' 2018.\" width=\"640\" height=\"721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RISORGERE_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RISORGERE_640-160x180.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RISORGERE_640-240x270.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RISORGERE_640-375x422.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RISORGERE_640-520x586.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Luba Zygarewicz, ‘RISORGERE,’ 2018. \u003ccite>(Courtesy of Sonoma Community Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘From Fire, Love Rises: Stories Shared from the Artist Community’\u003c/h2>\n\u003cp>\u003cb>Sept. 29, 2018–Jan. 6, 2019\u003cbr>\n\u003ca href=\"http://svma.org/exhibitions/fire-love-rises-stories-shared-artist-community\" target=\"_blank\" rel=\"noopener\">Sonoma Valley Museum of Art\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Many Sonoma and Napa county artists, this exhibition’s description states, “have relied on their artistic practice to recover from their losses and help restore the community around them.” This group exhibition stresses the artistic visions that help a community move forward. Among the long list of metalworkers, photographers, ceramicists, printmakers, new media artists, poets and writers included in this exhibition are familiar names like \u003ca href=\"https://www.kqed.org/arts/13813058/a-photographer-turns-the-lens-on-her-own-homes-charred-remains\" target=\"_blank\" rel=\"noopener\">Norma I. Quintana\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13813960/watch-a-santa-rosa-cartoonists-a-fire-story-come-to-life\" target=\"_blank\" rel=\"noopener\">Brian Fies\u003c/a>.\u003c/p>\n\u003ch2>‘RE-COLLECT: Recalling Sonoma One Year Later’\u003c/h2>\n\u003cp>\u003cb>Sept. 29–Oct. 14, 2018\u003cbr>\n\u003ca href=\"https://sonomacommunitycenter.org/events/gallery-exhibitions/\" target=\"_blank\" rel=\"noopener\">Sonoma Community Center\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In conjunction with the Sonoma Valley Museum of Art, \u003ci>RE-COLLECT\u003c/i> presents works by three local artists: Mike Acker, Barbara White Perry and Luba Zygarewicz. Zygarewicz’s contribution to the show is an expansive sculptural arrangement of hundreds of salvaged objects—bits of twisted metal, hubcaps, scissors, things too distorted to identify—over a gradation of colored, melted glass.\u003c/p>\n\u003cfigure id=\"attachment_13842034\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13842034 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal.jpg\" alt=\"Norma I. Quintana, from the series 'Forage from Fire,' 2017.\" width=\"1500\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-150x150.jpg 150w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Norma I. Quintana, from the series ‘Forage from Fire,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Norma I. Quintana, ‘Forage From Fire’\u003c/h2>\n\u003cp>\u003cb>Oct. 4–20, 2018\u003cbr>\n\u003ca href=\"http://www.sfcamerawork.org/forage-from-fire\" target=\"_blank\" rel=\"noopener\">SF Camerawork, San Francisco\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Days after she lost her home, studio and countless silver gelatin prints to the Atlas Fire, Norma I. Quintana began photographing the remnants of her life with her iPhone: jewelry, cameras, Christmas ornaments, doll parts, kitchen tools and picture frames, all blackened and burnt. In her images, a black plastic glove issued to homeowners to protect their hands during fire clean-up becomes a stand-in for all the hands of all the people who lost their possessions to the fires. “Finding these objects, no longer in the state they were when they were mine, somehow makes the destruction less devastating,” \u003ca href=\"https://www.kqed.org/arts/13813058/a-photographer-turns-the-lens-on-her-own-homes-charred-remains\" target=\"_blank\" rel=\"noopener\">she told KQED Arts last October\u003c/a>, as she was still sifting through the ashes. “What is devastating, of course, is the loss of my home, that security, that place of memories. I don’t know yet if these pictures can soothe that, for me or anyone else. I hope so.”\u003c/p>\n\u003cfigure id=\"attachment_13842035\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842035\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB.jpg\" alt=\"Brian Fies, from 'A Fire Story,' 2017.\" width=\"1500\" height=\"1076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-1200x861.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-1180x846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-960x689.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-520x373.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Brian Fies, from ‘A Fire Story,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘From the Fire: A Community Reflects and Rebuilds’\u003c/h2>\n\u003cp>\u003cb>Oct. 6, 2018–Jan. 27, 2019\u003cbr>\n\u003ca href=\"https://museumsc.org/from-the-fire-a-community-reflects-and-rebuilds/\" target=\"_blank\" rel=\"noopener\">Museums of Sonoma County, Santa Rosa\u003c/a>\u003c/b>\u003c/p>\n\u003cp>The Museums of Sonoma County examines the fires from “personal, historical and environmental perspectives,” bringing together a temporary exhibition with two ongoing projects developed immediately after the fires. One of those projects is \u003ci>The Fire Wall\u003c/i>, a community-submitted digital database of images, artworks and stories. The other is \u003ci>The Fire Collection\u003c/i>, objects and artifacts—like a heat-warped street sign—contributed to the museum. Artworks from Teresa Camozzi, Brian Fies, Kimberlee Koym-Murteira, Gregory Roberts, Adam Shaw, Penny Wolin and Martín Zúñiga represent personal and emotional responses, while a timeline of the fires’ advancement, snippets of press coverage and examples of rebuilding efforts present a “facts-based” look at the events.\u003c/p>\n\u003cfigure id=\"attachment_13842036\" class=\"wp-caption aligncenter\" style=\"max-width: 1097px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm.jpg\" alt=\"Linda Gass, 'Reclamation.'\" width=\"1097\" height=\"676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm.jpg 1097w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm-960x592.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm-520x320.jpg 520w\" sizes=\"(max-width: 1097px) 100vw, 1097px\">\u003cfigcaption class=\"wp-caption-text\">Linda Gass, ‘Reclamation.’ \u003ccite>(Courtesy of Art Responds)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Art Responds: The Wine Country Fires’\u003c/h2>\n\u003cp>\u003cb>Oct. 10–Dec. 15, 2018\u003cbr>\n\u003ca href=\"https://www.art-responds.com\" target=\"_blank\" rel=\"noopener\">1252 First Street, Napa\u003c/a>\u003c/b>\u003c/p>\n\u003cp>This art exhibition and event series, curated by Rina Faletti, emphasizes the importance of creating spaces where communities affected by disaster can come together and see their experiences reflected through art. Featuring work from Oscar Aguilar Olea, Julia Crane, Andrea Dale, Lowell Downey, Brian Fies, Jeff Frost, Linda Gass, Edmund Ian Grant, Norma I. Quintana, Kristi Rene and Laura Resen, \u003ci>Art Responds\u003c/i> also includes a night of film screenings (artistic and documentary) and a panel discussion on Oct. 21, 3–6pm. “When art leads this discussion,” Faletti says in her curatorial statement, “the aesthetic objects hold a creative power to steer conversation into new directions and unfamiliar territories.”\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\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "Art institutions provide room for contemplation and remembrance, proving the necessity of such spaces during the best and worst of times.",
"status": "publish",
"parent": 0,
"modified": 1726770952,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 1172
},
"headData": {
"title": "Exhibitions Across the Bay Area Remember the North Bay Fires | KQED",
"description": "Art institutions provide room for contemplation and remembrance, proving the necessity of such spaces during the best and worst of times.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Exhibitions Across the Bay Area Remember the North Bay Fires",
"datePublished": "2018-10-03T08:00:31-07:00",
"dateModified": "2024-09-19T11:35:52-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13842012/exhibitions-across-the-bay-area-remember-the-north-bay-fires",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Bay Area communities reflect on the days that forever changed their landscape, relationships and local economies, art institutions have stepped up to provide room for that contemplation, proving the necessity of such spaces during the best and worst of times.\u003c/p>\n\u003cp>Exhibitions in museums, libraries and galleries across Sonoma, Napa and San Francisco counties showcase the artwork of those both directly affected by the fires, and those who felt compelled to respond artistically. Now you too can mark the year since by frequenting a few of these thoughtful displays.\u003c/p>\n\u003cfigure id=\"attachment_13842031\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842031\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/SonomaState_victor_640.jpg\" alt=\"Louise Victor, 'Fire and Ashes,' 2018.\" width=\"640\" height=\"676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/SonomaState_victor_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/SonomaState_victor_640-160x169.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/SonomaState_victor_640-240x254.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/SonomaState_victor_640-375x396.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/SonomaState_victor_640-520x549.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Louise Victor, ‘Fire and Ashes,’ 2018. \u003ccite>(Courtesy of Sonoma State University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Reflections: After the Fire’\u003c/h2>\n\u003cp>\u003cb>Aug. 20–Dec. 14, 2018\u003cbr>\n\u003ca href=\"https://library.sonoma.edu/about/gallery/reflections-after-fire\" target=\"_blank\" rel=\"noopener\">Sonoma State University\u003c/a>\u003c/b>\u003c/p>\n\u003cp>The University Library Gallery at Sonoma State exhibits work by 21 people—not just artists, but photographers, videographers, first responders and community members—documenting and responding to the firestorm. The impulses behind their artistic output are varied: some want to process their own feelings through art, others hope to offer a sense of optimism and inspiration in the face of loss. A reception on Oct. 17, from 4–5:30pm, marks the date the campus reopened in 2017, a nod to the school’s perseverance in the face of local disaster.\u003c/p>\n\u003ch2>‘Young Suh: Wildfires’\u003c/h2>\n\u003cp>\u003cb>Sept. 14–Nov. 17, 2018\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/young-suh-wildfires\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission Galleries\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Even though last year’s fires were devastating in their scale, fires have become an annual occurrence throughout California, a fact that allowed Bay Area photographer Young Suh to spend four years working on his series \u003ci>Wildfires\u003c/i>. “Suh’s lush and languid images take the viewer from the comfortable position of being just out of the fire’s path, to standing within feet of the source,” reads the exhibition description. Playing off both our attraction to the beautiful drama of smoke, and our fear of nature’s destructive power, Suh’s images capture a state of “anxious desire.”\u003c/p>\n\u003cfigure id=\"attachment_13842044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-800x532.jpg\" alt=\"Jan Nunn, 'Commune II.'\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13842044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Commune_-Nunn.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jan Nunn, ‘Commune II.’ \u003ccite>(Courtesy Luther Burbank Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Harmonies: Kati Casida, Catherine Daley and Jann Nunn’\u003c/h2>\n\u003cp>\u003cb>Sept. 13, 2018–Sept. 20, 2020\u003cbr>\n\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/young-suh-wildfires\" target=\"_blank\" rel=\"noopener\">Luther Burbank Center Sculpture Garden\u003c/a>\u003c/b>\u003c/p>\n\u003cp>For any curator, placing a sculpture exhibition in the literal path of the 2017 fire raises a philosophical question: should the art reflect the region’s tragedy? At the Luther Burbank Center, \u003cem>Harmonies\u003c/em> isn’t a fire-obsessed, hit-you-over-the-head exhibition, and it’s better for it. While Nunn’s \u003cem>XLIV\u003c/em>—44 stars symbolizing the 44 lives lost in the fire—could be seen as somber, especially against the still-scarred nearby hills, Anita Wigglesworth tells KQED of \u003cem>Harmonies\u003c/em>, “Once every piece was set, we walked around and all of us said, ‘This is a really \u003cem>joyous\u003c/em> exhibition.’ You never know how everything comes together until it’s there.”\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\u003cfigure id=\"attachment_13842033\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RISORGERE_640.jpg\" alt=\"Luba Zygarewicz, 'RISORGERE,' 2018.\" width=\"640\" height=\"721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RISORGERE_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RISORGERE_640-160x180.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RISORGERE_640-240x270.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RISORGERE_640-375x422.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RISORGERE_640-520x586.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Luba Zygarewicz, ‘RISORGERE,’ 2018. \u003ccite>(Courtesy of Sonoma Community Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘From Fire, Love Rises: Stories Shared from the Artist Community’\u003c/h2>\n\u003cp>\u003cb>Sept. 29, 2018–Jan. 6, 2019\u003cbr>\n\u003ca href=\"http://svma.org/exhibitions/fire-love-rises-stories-shared-artist-community\" target=\"_blank\" rel=\"noopener\">Sonoma Valley Museum of Art\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Many Sonoma and Napa county artists, this exhibition’s description states, “have relied on their artistic practice to recover from their losses and help restore the community around them.” This group exhibition stresses the artistic visions that help a community move forward. Among the long list of metalworkers, photographers, ceramicists, printmakers, new media artists, poets and writers included in this exhibition are familiar names like \u003ca href=\"https://www.kqed.org/arts/13813058/a-photographer-turns-the-lens-on-her-own-homes-charred-remains\" target=\"_blank\" rel=\"noopener\">Norma I. Quintana\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13813960/watch-a-santa-rosa-cartoonists-a-fire-story-come-to-life\" target=\"_blank\" rel=\"noopener\">Brian Fies\u003c/a>.\u003c/p>\n\u003ch2>‘RE-COLLECT: Recalling Sonoma One Year Later’\u003c/h2>\n\u003cp>\u003cb>Sept. 29–Oct. 14, 2018\u003cbr>\n\u003ca href=\"https://sonomacommunitycenter.org/events/gallery-exhibitions/\" target=\"_blank\" rel=\"noopener\">Sonoma Community Center\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In conjunction with the Sonoma Valley Museum of Art, \u003ci>RE-COLLECT\u003c/i> presents works by three local artists: Mike Acker, Barbara White Perry and Luba Zygarewicz. Zygarewicz’s contribution to the show is an expansive sculptural arrangement of hundreds of salvaged objects—bits of twisted metal, hubcaps, scissors, things too distorted to identify—over a gradation of colored, melted glass.\u003c/p>\n\u003cfigure id=\"attachment_13842034\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13842034 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal.jpg\" alt=\"Norma I. Quintana, from the series 'Forage from Fire,' 2017.\" width=\"1500\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/NQ_typewriterfinal-150x150.jpg 150w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Norma I. Quintana, from the series ‘Forage from Fire,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Norma I. Quintana, ‘Forage From Fire’\u003c/h2>\n\u003cp>\u003cb>Oct. 4–20, 2018\u003cbr>\n\u003ca href=\"http://www.sfcamerawork.org/forage-from-fire\" target=\"_blank\" rel=\"noopener\">SF Camerawork, San Francisco\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Days after she lost her home, studio and countless silver gelatin prints to the Atlas Fire, Norma I. Quintana began photographing the remnants of her life with her iPhone: jewelry, cameras, Christmas ornaments, doll parts, kitchen tools and picture frames, all blackened and burnt. In her images, a black plastic glove issued to homeowners to protect their hands during fire clean-up becomes a stand-in for all the hands of all the people who lost their possessions to the fires. “Finding these objects, no longer in the state they were when they were mine, somehow makes the destruction less devastating,” \u003ca href=\"https://www.kqed.org/arts/13813058/a-photographer-turns-the-lens-on-her-own-homes-charred-remains\" target=\"_blank\" rel=\"noopener\">she told KQED Arts last October\u003c/a>, as she was still sifting through the ashes. “What is devastating, of course, is the loss of my home, that security, that place of memories. I don’t know yet if these pictures can soothe that, for me or anyone else. I hope so.”\u003c/p>\n\u003cfigure id=\"attachment_13842035\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842035\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB.jpg\" alt=\"Brian Fies, from 'A Fire Story,' 2017.\" width=\"1500\" height=\"1076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-1200x861.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-1180x846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-960x689.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Museums_fire-JPG-600-KQED-WEB-520x373.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Brian Fies, from ‘A Fire Story,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘From the Fire: A Community Reflects and Rebuilds’\u003c/h2>\n\u003cp>\u003cb>Oct. 6, 2018–Jan. 27, 2019\u003cbr>\n\u003ca href=\"https://museumsc.org/from-the-fire-a-community-reflects-and-rebuilds/\" target=\"_blank\" rel=\"noopener\">Museums of Sonoma County, Santa Rosa\u003c/a>\u003c/b>\u003c/p>\n\u003cp>The Museums of Sonoma County examines the fires from “personal, historical and environmental perspectives,” bringing together a temporary exhibition with two ongoing projects developed immediately after the fires. One of those projects is \u003ci>The Fire Wall\u003c/i>, a community-submitted digital database of images, artworks and stories. The other is \u003ci>The Fire Collection\u003c/i>, objects and artifacts—like a heat-warped street sign—contributed to the museum. Artworks from Teresa Camozzi, Brian Fies, Kimberlee Koym-Murteira, Gregory Roberts, Adam Shaw, Penny Wolin and Martín Zúñiga represent personal and emotional responses, while a timeline of the fires’ advancement, snippets of press coverage and examples of rebuilding efforts present a “facts-based” look at the events.\u003c/p>\n\u003cfigure id=\"attachment_13842036\" class=\"wp-caption aligncenter\" style=\"max-width: 1097px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13842036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm.jpg\" alt=\"Linda Gass, 'Reclamation.'\" width=\"1097\" height=\"676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm.jpg 1097w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm-768x473.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm-960x592.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Gass_Reclamation_sm-520x320.jpg 520w\" sizes=\"(max-width: 1097px) 100vw, 1097px\">\u003cfigcaption class=\"wp-caption-text\">Linda Gass, ‘Reclamation.’ \u003ccite>(Courtesy of Art Responds)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Art Responds: The Wine Country Fires’\u003c/h2>\n\u003cp>\u003cb>Oct. 10–Dec. 15, 2018\u003cbr>\n\u003ca href=\"https://www.art-responds.com\" target=\"_blank\" rel=\"noopener\">1252 First Street, Napa\u003c/a>\u003c/b>\u003c/p>\n\u003cp>This art exhibition and event series, curated by Rina Faletti, emphasizes the importance of creating spaces where communities affected by disaster can come together and see their experiences reflected through art. Featuring work from Oscar Aguilar Olea, Julia Crane, Andrea Dale, Lowell Downey, Brian Fies, Jeff Frost, Linda Gass, Edmund Ian Grant, Norma I. Quintana, Kristi Rene and Laura Resen, \u003ci>Art Responds\u003c/i> also includes a night of film screenings (artistic and documentary) and a panel discussion on Oct. 21, 3–6pm. “When art leads this discussion,” Faletti says in her curatorial statement, “the aesthetic objects hold a creative power to steer conversation into new directions and unfamiliar territories.”\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\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13842012/exhibitions-across-the-bay-area-remember-the-north-bay-fires",
"authors": [
"61"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_2757",
"arts_596"
],
"featImg": "arts_13842039",
"label": "arts"
},
"arts_13841902": {
"type": "posts",
"id": "arts_13841902",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13841902",
"score": null,
"sort": [
1538330887000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1538330887,
"format": "image",
"title": "Live Review: Beyoncé and Jay-Z's 'On the Run II' Tour at Levi's Stadium",
"headTitle": "Live Review: Beyoncé and Jay-Z’s ‘On the Run II’ Tour at Levi’s Stadium | KQED",
"content": "\u003cp>Helen of Troy was the face that launched a thousand ships. In Greek mythology, her power was so singular and her beauty so striking, men went to war in their quest to claim her. \u003c/p>\n\u003cp>In 2018, the only person with the ability to whip thousands into that kind of fervor is Beyoncé, the most compelling artist of our time.\u003c/p>\n\u003cp>Unlike Helen, Mrs. Carter-Knowles is fully the master of her own fate. Her power is a product of her trademark Virgo fastidiousness, unimpeachable craftsmanship, insistence on operating on her own terms, and ability to strike listeners straight in the heart in the span of three minutes.\u003c/p>\n\u003cp>And on Saturday night, 49,000 people at the sold-out Levi’s Stadium in Santa Clara for the ‘On The Run II’ tour were putty in Beyoncé’s hands. \u003c/p>\n\u003cfigure id=\"attachment_13841905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-800x1116.jpg\" alt=\"Beyoncé performs on the 'On The Run II' tour at Levi's Stadium on Sept. 29, 2018 in Santa Clara, California.\" width=\"800\" height=\"1116\" class=\"size-medium wp-image-13841905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-800x1116.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-768x1071.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-1020x1422.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-861x1200.jpg 861w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-1180x1645.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-960x1339.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-240x335.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-375x523.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-520x725.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline.jpg 1469w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs on the ‘On The Run II’ tour at Levi’s Stadium on Sept. 29, 2018 in Santa Clara, California. \u003ccite>(Raven Varona / Parkwood / PictureGroup)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearing the end of its summer-long run, the tour is, technically, a co-headlining show with her husband Jay-Z. But let’s be honest, the Beyhive—her intensely loyal international fan base—swarmed because the queen, not Jay, called. This was abundantly clear near the middle of the show, after her rendition of “Countdown” and before “Sorry,” when the music came to a full stop to accommodate the stadium’s spontaneous, exuberant roar for a full minute.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even hours earlier, the buzz of excitement was palpable. Throngs of people spilled into the stadium from surrounding parking lots and sidewalks in their Sunday’s best. Many opted for yellow collegiate wear, a call to Beyoncé’s Coachella performance in April, during which the singer paid homage to the country’s Historically Black Colleges and Universities.\u003c/p>\n\u003cp>[contextly_sidebar id=”YeH0QJMkNW10WRSiVQhPmjPcfnvKunX6″]\u003c/p>\n\u003cp>Such outfits weren’t as plentiful or extravagant as the attire in the audience the \u003ca href=\"https://www.kqed.org/pop/24562/live-review-beyonce-unexplainable-celestial-being-slays-at-levis-stadium\" rel=\"noopener\" target=\"_blank\">last time Mrs. Carter came to Levi’s Stadium, in 2016\u003c/a>. Then, fans arrived at the ‘Formation’ tour with their best approximation of the singer’s looks: the ebullient, yellow Roberto Cavalli dress from “Hold Up,” the all-black Southern Gothic gown with a wide-brimmed hat from “Formation,” and the Ms. Third Ward pageantry from “Pretty Hurts.”\u003c/p>\n\u003cp>And still, the unofficial dress code was heeded Saturday night. There were yellow berets, blinding highlights, bodysuits, thigh-high boots, “Yonce”-inspired plaid and glittering fishnets galore. Navigating the stadium was chaotic. Long, winding lines snaked down both sides of the concourse as people tried to ready their supplies—food, tour merchandise and plenty of alcohol—before the night’s main event.\u003c/p>\n\u003cfigure id=\"attachment_13841906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-800x610.jpg\" alt=\"Chloe X Halle perform on the 'On The Run II' tour at Levi's Stadium on Sept. 29, 2018 in Santa Clara, California. \" width=\"800\" height=\"610\" class=\"size-medium wp-image-13841906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-800x610.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-768x586.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-1020x778.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-960x732.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-240x183.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-375x286.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-520x397.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe X Halle perform on the ‘On The Run II’ tour at Levi’s Stadium on Sept. 29, 2018 in Santa Clara, California. \u003ccite>(Raven Varona/Parkwood/PictureGroup)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By 8 p.m., the sun had gone away, R&B duo Chloe x Halle had performed and DJ Khaled was onstage doing his best approximation of a DJ. You’d be hard pressed to get more than 20 seconds of a song out of him, but his meme-able enthusiasm and array of special guests—Kash Doll, Sage the Gemini, Oakland’s Jonn Hart and Naughty by Nature—do the job. Below me, two men began yiking to Sage the Gemini’s “Gas Pedal,” and all around me people writhed in their seats.\u003c/p>\n\u003cp>But just after 8:45 p.m., as Petey Pablo’s voice was interrupted mid-“Freek-a-Leek,” it was time. “THIS IS REAL LIFE” flashed on the giant screen, followed by clips of Bey and Jay as lovers on the lam, resuming their roles as Bonnie and Clyde-esque figures riding through the streets of Kingston, Jamaica. Judging by all the noise, it’d be safe to say fans were wondering if what they were about to witness was real life, too.\u003c/p>\n\u003cp>The screen cut to black, the couple appeared in all-white, and I can only assume it was a product of Beyoncé’s benevolence to open the show with “Holy Grail,” her vocals breathing new life into the misstep in Jay Z’s discography. \u003c/p>\n\u003cfigure id=\"attachment_13841911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/image2-800x494.jpg\" alt=\"Beyoncé and Jay-Z perform Sept. 29, 2018 at Levi's Stadium on the 'On the Run II' tour.\" width=\"800\" height=\"494\" class=\"size-medium wp-image-13841911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-1200x741.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé and Jay-Z perform Sept. 29, 2018 at Levi’s Stadium on the ‘On the Run II’ tour. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next two and a half hours constituted an elaborate, well-crafted couple’s journey through trials, tribulations, and eventually, reconciliation. Past the show’s pyrotechnics, lush cinematic montages and painstakingly precise choreography, it served as a campaign for the enduring force of love (theirs, in particular), capable of softening the hearts of even the coldest of cynics among the hive. \u003c/p>\n\u003cp>Maybe now, after a summer of performing his penance, Jay-Z will be forgiven for his transgressions against Beyoncé. But while Jay’s charisma, ease and nimble lyricism were a necessary presence, on Saturday night he was the second most compelling rapper in the room. After all, Beyoncé is the glue at the heart of this.\u003c/p>\n\u003cp>In fact, the centerpiece of the show came about an hour and a half in, as the Houston singer strolled down the catwalk in an angelic gold number with a sweeping train behind her. She was alone to sing “Resentment,” the vulnerable ballad about the aftermath of a lover’s betrayal.\u003c/p>\n\u003cfigure id=\"attachment_13841908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/image3-800x600.jpg\" alt=\"Fireworks blast as Beyoncé performs Sept. 29, 2018 at Levi's Stadium on the 'On the Run II' tour.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13841908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks blast as Beyoncé performs Sept. 29, 2018 at Levi’s Stadium on the ‘On the Run II’ tour. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The track off 2006’s \u003cem>B-Day\u003c/em> offers no pretense, and gets to the core of why she’s more than just a stellar pop star. Resentment is supposed to be a bad thing. There is an expectation that women ought to be above the sickly feeling of indignation that eats us up inside after being wronged. As a black woman, that expectation of strength and grace is triple-fold for Beyoncé. But on “Resentment,” and throughout her career—not least of all with her magnum opus “Lemonade”—she rejects that expectation.\u003c/p>\n\u003cp>She’s unflinchingly vulnerable about the pain, anger and sorrow of experiencing heartbreak. Graciousness isn’t appropriate here—rather, she leans into rightfully earned anger, insecurity, and even bitterness, because it’s honest.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For Beyoncé, the personal is the political; she knows that for her, and for many of her fans, it’s impossible to separate the two.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1140,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705027185,
"excerpt": "This Beyoncé tour is, technically, a co-headlining show with husband Jay-Z. But let's be honest.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This Beyoncé tour is, technically, a co-headlining show with husband Jay-Z. But let's be honest.",
"title": "Live Review: Beyoncé and Jay-Z's 'On the Run II' Tour at Levi's Stadium | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Live Review: Beyoncé and Jay-Z's 'On the Run II' Tour at Levi's Stadium",
"datePublished": "2018-09-30T11:08:07-07:00",
"dateModified": "2024-01-11T18:39:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "live-review-beyonce-and-jay-zs-on-the-run-ii-tour-at-levis-stadium",
"status": "publish",
"nprByline": "Montse Reyes",
"sticky": false,
"path": "/arts/13841902/live-review-beyonce-and-jay-zs-on-the-run-ii-tour-at-levis-stadium",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Helen of Troy was the face that launched a thousand ships. In Greek mythology, her power was so singular and her beauty so striking, men went to war in their quest to claim her. \u003c/p>\n\u003cp>In 2018, the only person with the ability to whip thousands into that kind of fervor is Beyoncé, the most compelling artist of our time.\u003c/p>\n\u003cp>Unlike Helen, Mrs. Carter-Knowles is fully the master of her own fate. Her power is a product of her trademark Virgo fastidiousness, unimpeachable craftsmanship, insistence on operating on her own terms, and ability to strike listeners straight in the heart in the span of three minutes.\u003c/p>\n\u003cp>And on Saturday night, 49,000 people at the sold-out Levi’s Stadium in Santa Clara for the ‘On The Run II’ tour were putty in Beyoncé’s hands. \u003c/p>\n\u003cfigure id=\"attachment_13841905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-800x1116.jpg\" alt=\"Beyoncé performs on the 'On The Run II' tour at Levi's Stadium on Sept. 29, 2018 in Santa Clara, California.\" width=\"800\" height=\"1116\" class=\"size-medium wp-image-13841905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-800x1116.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-768x1071.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-1020x1422.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-861x1200.jpg 861w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-1180x1645.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-960x1339.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-240x335.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-375x523.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline-520x725.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Beyonce.Levis_.Inline.jpg 1469w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé performs on the ‘On The Run II’ tour at Levi’s Stadium on Sept. 29, 2018 in Santa Clara, California. \u003ccite>(Raven Varona / Parkwood / PictureGroup)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearing the end of its summer-long run, the tour is, technically, a co-headlining show with her husband Jay-Z. But let’s be honest, the Beyhive—her intensely loyal international fan base—swarmed because the queen, not Jay, called. This was abundantly clear near the middle of the show, after her rendition of “Countdown” and before “Sorry,” when the music came to a full stop to accommodate the stadium’s spontaneous, exuberant roar for a full minute.\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>Even hours earlier, the buzz of excitement was palpable. Throngs of people spilled into the stadium from surrounding parking lots and sidewalks in their Sunday’s best. Many opted for yellow collegiate wear, a call to Beyoncé’s Coachella performance in April, during which the singer paid homage to the country’s Historically Black Colleges and Universities.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Such outfits weren’t as plentiful or extravagant as the attire in the audience the \u003ca href=\"https://www.kqed.org/pop/24562/live-review-beyonce-unexplainable-celestial-being-slays-at-levis-stadium\" rel=\"noopener\" target=\"_blank\">last time Mrs. Carter came to Levi’s Stadium, in 2016\u003c/a>. Then, fans arrived at the ‘Formation’ tour with their best approximation of the singer’s looks: the ebullient, yellow Roberto Cavalli dress from “Hold Up,” the all-black Southern Gothic gown with a wide-brimmed hat from “Formation,” and the Ms. Third Ward pageantry from “Pretty Hurts.”\u003c/p>\n\u003cp>And still, the unofficial dress code was heeded Saturday night. There were yellow berets, blinding highlights, bodysuits, thigh-high boots, “Yonce”-inspired plaid and glittering fishnets galore. Navigating the stadium was chaotic. Long, winding lines snaked down both sides of the concourse as people tried to ready their supplies—food, tour merchandise and plenty of alcohol—before the night’s main event.\u003c/p>\n\u003cfigure id=\"attachment_13841906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-800x610.jpg\" alt=\"Chloe X Halle perform on the 'On The Run II' tour at Levi's Stadium on Sept. 29, 2018 in Santa Clara, California. \" width=\"800\" height=\"610\" class=\"size-medium wp-image-13841906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-800x610.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-768x586.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-1020x778.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-960x732.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-240x183.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-375x286.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_-520x397.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/ChloeHalle.Levis_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe X Halle perform on the ‘On The Run II’ tour at Levi’s Stadium on Sept. 29, 2018 in Santa Clara, California. \u003ccite>(Raven Varona/Parkwood/PictureGroup)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By 8 p.m., the sun had gone away, R&B duo Chloe x Halle had performed and DJ Khaled was onstage doing his best approximation of a DJ. You’d be hard pressed to get more than 20 seconds of a song out of him, but his meme-able enthusiasm and array of special guests—Kash Doll, Sage the Gemini, Oakland’s Jonn Hart and Naughty by Nature—do the job. Below me, two men began yiking to Sage the Gemini’s “Gas Pedal,” and all around me people writhed in their seats.\u003c/p>\n\u003cp>But just after 8:45 p.m., as Petey Pablo’s voice was interrupted mid-“Freek-a-Leek,” it was time. “THIS IS REAL LIFE” flashed on the giant screen, followed by clips of Bey and Jay as lovers on the lam, resuming their roles as Bonnie and Clyde-esque figures riding through the streets of Kingston, Jamaica. Judging by all the noise, it’d be safe to say fans were wondering if what they were about to witness was real life, too.\u003c/p>\n\u003cp>The screen cut to black, the couple appeared in all-white, and I can only assume it was a product of Beyoncé’s benevolence to open the show with “Holy Grail,” her vocals breathing new life into the misstep in Jay Z’s discography. \u003c/p>\n\u003cfigure id=\"attachment_13841911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/image2-800x494.jpg\" alt=\"Beyoncé and Jay-Z perform Sept. 29, 2018 at Levi's Stadium on the 'On the Run II' tour.\" width=\"800\" height=\"494\" class=\"size-medium wp-image-13841911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-1200x741.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image2-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé and Jay-Z perform Sept. 29, 2018 at Levi’s Stadium on the ‘On the Run II’ tour. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next two and a half hours constituted an elaborate, well-crafted couple’s journey through trials, tribulations, and eventually, reconciliation. Past the show’s pyrotechnics, lush cinematic montages and painstakingly precise choreography, it served as a campaign for the enduring force of love (theirs, in particular), capable of softening the hearts of even the coldest of cynics among the hive. \u003c/p>\n\u003cp>Maybe now, after a summer of performing his penance, Jay-Z will be forgiven for his transgressions against Beyoncé. But while Jay’s charisma, ease and nimble lyricism were a necessary presence, on Saturday night he was the second most compelling rapper in the room. After all, Beyoncé is the glue at the heart of this.\u003c/p>\n\u003cp>In fact, the centerpiece of the show came about an hour and a half in, as the Houston singer strolled down the catwalk in an angelic gold number with a sweeping train behind her. She was alone to sing “Resentment,” the vulnerable ballad about the aftermath of a lover’s betrayal.\u003c/p>\n\u003cfigure id=\"attachment_13841908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/image3-800x600.jpg\" alt=\"Fireworks blast as Beyoncé performs Sept. 29, 2018 at Levi's Stadium on the 'On the Run II' tour.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13841908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/image3-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks blast as Beyoncé performs Sept. 29, 2018 at Levi’s Stadium on the ‘On the Run II’ tour. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The track off 2006’s \u003cem>B-Day\u003c/em> offers no pretense, and gets to the core of why she’s more than just a stellar pop star. Resentment is supposed to be a bad thing. There is an expectation that women ought to be above the sickly feeling of indignation that eats us up inside after being wronged. As a black woman, that expectation of strength and grace is triple-fold for Beyoncé. But on “Resentment,” and throughout her career—not least of all with her magnum opus “Lemonade”—she rejects that expectation.\u003c/p>\n\u003cp>She’s unflinchingly vulnerable about the pain, anger and sorrow of experiencing heartbreak. Graciousness isn’t appropriate here—rather, she leans into rightfully earned anger, insecurity, and even bitterness, because it’s honest.\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>For Beyoncé, the personal is the political; she knows that for her, and for many of her fans, it’s impossible to separate the two.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13841902/live-review-beyonce-and-jay-zs-on-the-run-ii-tour-at-levis-stadium",
"authors": [
"byline_arts_13841902"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1686",
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_13841904",
"label": "arts"
},
"arts_13841824": {
"type": "posts",
"id": "arts_13841824",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13841824",
"score": null,
"sort": [
1538226001000
]
},
"guestAuthors": [],
"slug": "contact-warhol-dives-into-andys-obsessions-with-sex-and-celebrity",
"title": "'Contact Warhol' Dives into Andy's Obsessions with Sex and Celebrity",
"publishDate": 1538226001,
"format": "audio",
"headTitle": "‘Contact Warhol’ Dives into Andy’s Obsessions with Sex and Celebrity | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Before there was Instagram and Snapchat, there was Andy Warhol.\u003c/p>\n\u003cp>He anticipated the way we would come to openly acknowledge and then celebrate our fascination with pop culture and, really, ourselves.\u003c/p>\n\u003cp>The visual documentation of that life, 1976-1987, is now on view at the \u003ca class=\"profileLink\" href=\"https://www.facebook.com/CantorArtsCenter/?__tn__=K-R-R&eid=ARDBufKIVySDCrgm1CKcVwR5swFlcpRJ_eXA_mxTdI7LfBeIGnp_LeK5a1FQLRQ-QCvdf1EkyBp5zqKo&fref=mentions&__xts__%5B0%5D=68.ARBfSpOt5PqWlm-x9rcXM2KGDtfRn5kYHDlkL-_JT-qPmXDLmWFcmNbZL3wh-fp7UGlvio2k0eC8eHajg4uNE831QsHDGbibGAEys2SFQ9_akn0DlYWeEaW618tOCSbrFNmXEsDgVTUcn6uCSqRYDs55jYD66Bj67xw_r3WO9tN7RiVpEGpBj7c\">Cantor Arts Center at Stanford University\u003c/a> with \u003ca href=\"https://museum.stanford.edu/exhibitions/contact-warhol-photography-without-end\">\u003ci>Contact Warhol: Photography Without End\u003c/i>\u003c/a>, celebrating the digitization of a huge collection of Warhol’s photographs, the vast majority of which have never been available to the public before.\u003c/p>\n\u003cp>It’s part of a deal with \u003ca href=\"https://warholfoundation.org\" target=\"_blank\" rel=\"noopener\">The Andy Warhol Foundation for the Visual Arts\u003c/a> in New York. To land this prize, Stanford digitized the images that expose Warhol’s artistic process.\u003c/p>\n\u003cfigure id=\"attachment_13841852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-800x257.jpg\" alt=\"Detail from a contact sheet of Andy Warhol, 1986.\" width=\"800\" height=\"257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-800x257.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-768x247.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1020x328.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1200x385.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1920x617.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1180x379.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-960x308.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-240x77.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-375x120.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-520x167.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a contact sheet of Andy Warhol, 1986. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reared on the flat, iconic paintings of the Byzantine Catholic church he grew up in, Warhol was quick to identify what and how we worship in the modern era — and then capitalize on that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the late 1970s, the nation’s premier pop artist was a celebrity himself, cashing in on the appetite he created for iconic portraits of the rich and famous. By night, he was also holding court with his posse, a coterie of hot young men and artists in pre-AIDS Manhattan.\u003c/p>\n\u003cp>“The big revelation for me was how good Warhol was as a director, and indeed, as a performer. What matters isn’t actually the end result, but rather the act of shooting,” says co-curator \u003ca href=\"https://english.stanford.edu/people/peggy-phelan\" target=\"_blank\" rel=\"noopener\">Peggy Phelan\u003c/a>, who directs Stanford’s \u003ca href=\"https://arts.stanford.edu/arts-institute/\" target=\"_blank\" rel=\"noopener\">Arts Institute\u003c/a>.\u003c/p>\n\u003cp>Her co-curator is \u003ca href=\"https://art.stanford.edu/people/richard-meyer\" target=\"_blank\" rel=\"noopener\">Richard Meyer\u003c/a> of Stanford’s School of Humanities and Sciences. “This is an exhibition based on an extraordinary collection of 3,600 contact sheets. Not the Polaroids, but every other single photograph that Warhol took from 1976, the year he bought a Minox — his first camera he had that wasn’t a Polaroid — to his unexpected death in 1987,” Meyer says.\u003c/p>\n\u003cfigure id=\"attachment_13841862\" class=\"wp-caption aligncenter\" style=\"max-width: 730px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital.jpg\" alt=\"Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. \" width=\"730\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital.jpg 730w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-240x263.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-375x411.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-520x570.jpg 520w\" sizes=\"(max-width: 730px) 100vw, 730px\">\u003cfigcaption class=\"wp-caption-text\">Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phelan says Warhol understood that the back story to his public paintings was something interesting in itself. That’s something we can appreciate in 2018 in way we might not have fully grasped in 1978. “He is anticipating our own habit with our cell phone photographs,” she says.\u003c/p>\n\u003cp>In one gallery suite, you can see the process that went into Warhol’s silkscreen of Liza Minnelli.\u003c/p>\n\u003cp>“Warhol is photographing Liza with a Polaroid camera because Polaroids were the sources of the big paintings that we have,” Phelan explains. “But he made sure that someone with a 35 millimeter camera — his 35 millimeter camera — was photographing him. And in this case, he made sure that there was someone filming both the 35 millimeter camera photographing him and him photographing Liza.”\u003c/p>\n\u003cp>Hinting at the size of the collection, blow-ups of the contact sheets ring the rooms on the walls at knee level. Tables waist-high feature samples of the actual contact sheets under plexiglas.\u003c/p>\n\u003cp>Then, mirroring the kind of work done at the \u003ca href=\"http://library.stanford.edu/rumsey\" target=\"_blank\" rel=\"noopener\">David Rumsey Map Center\u003c/a> at Stanford, there’s an interactive table, allowing you to look at anything in the archive digitized over two-and-a-half years by Cantor archivists.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/506663418″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true” width=”100%” height=”300″ iframe=”true” /]\u003c/p>\n\u003cp>“You can zoom in on one contact sheet, and then one frame within that contact sheet, and that zooming in will then be projected on the screen in the middle of the gallery,” Phelan says.\u003c/p>\n\u003cp>So, a warning here to think about who else is in the gallery with you before you zoom in on any of the sexually explicit photos of Warhol’s friends.\u003c/p>\n\u003cp>These photographs document a now lost world of gay culture in the 1970s and ’80s. We see, for example, many shots of Victor Hugo, the window dresser and boyfriend of fashion designer Roy Halston Frowicknot, having sex with different men. Warhol used those images for a series called \u003cem>Sex Parts\u003c/em>.\u003c/p>\n\u003cp>In a nod to modern sensitivities about sexual exploitation, Phelan says she and Meyer chose to crop the heads off of explicit images. “We were quite conscious of the risks of showing the faces of men who were engaged in sex acts 35 years ago who may or may not want to be identified now,” Phelan says.\u003c/p>\n\u003cfigure id=\"attachment_13841865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841865\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-800x705.jpg\" alt=\"Contact Sheet [Debbie Harry portrait photo shoot, Chris Stein; Victor Hugo, Bianca Jagger, others in club; Dog; Bianca in a kitchen], 1980. Gelatin silver print.\" width=\"800\" height=\"705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-768x677.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-240x212.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-375x330.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-520x458.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Contact Sheet [Debbie Harry portrait photo shoot, Chris Stein; Victor Hugo, Bianca Jagger, others in club; Dog; Bianca in a kitchen], 1980. Gelatin silver print. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those, she means, who are still alive today. “Looking at it in 2018, you can’t but see the kind of sexual freedom and almost jubilation,” Meyer says, before adding “Not Warhol. He’s not jubilant. He very rarely smiles!”\u003c/p>\n\u003cp>Meyer adds something that might not seem obvious in this age: “These were not selfies,” Meyers says. “He was not holding the camera out in front of him. He passed the camera to assistants to other people at the dinner parties, at Studio 54, at the discotheque. But every photograph taken by his camera is considered a Warhol.\u003c/p>\n\u003cp>“Warhol is the most pictured person in the contact sheets, and his boyfriend, John Gould, who was his last boyfriend, [was] the second most photographed.”\u003c/p>\n\u003cp>Gould died of HIV/AIDS-related complications in 1986, a year before Warhol’s death after gallbladder surgery.\u003c/p>\n\u003cp>“He took his tape recorder and his pocket-sized camera with him every night when he went out, and he was very proud of going out every night,” Meyer says.\u003c/p>\n\u003cfigure id=\"attachment_13841864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841864 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-800x818.jpg\" alt=\"Jean-Michel Basquiat, ca. 1982. Acrylic, silkscreen ink, and urine on canvas. \" width=\"800\" height=\"818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-800x818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1020x1042.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1174x1200.jpg 1174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1180x1206.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-960x981.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-240x245.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-375x383.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-520x531.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-64x64.jpg 64w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat, ca. 1982. Acrylic, silkscreen ink, and urine on canvas. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Altogether, the exhibition documents a point in time when superstars of that era wanted to be photographed by Warhol, or with him: Debbie Harry, Michael Jackson, John Lennon, Dolly Parton, Keith Haring, Jean-Michel Basquiat, Nancy Reagan, Maria Shriver and Arnold Schwarzenegger, to name a few.\u003c/p>\n\u003cp>They understood instinctively what Warhol was doing, and they wanted to bask in the refracted light of his vision.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong style=\"font-style: italic\">Contact Warhol: Photography Without End \u003c/strong>r\u003ci>uns September 29, 2018 through January 6, 2019 at the Cantor Arts Center on the Stanford campus in Palo Alto. For more information, click \u003ca href=\"https://museum.stanford.edu/exhibitions/contact-warhol-photography-without-end\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "All of the photographs documenting Andy Warhol's last decade are on display at the Cantor Arts Center.",
"status": "publish",
"parent": 0,
"modified": 1726770953,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 28,
"wordCount": 1170
},
"headData": {
"title": "'Contact Warhol' Dives into Andy's Obsessions with Sex and Celebrity | KQED",
"description": "All of the photographs documenting Andy Warhol's last decade are on display at the Cantor Arts Center.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Contact Warhol' Dives into Andy's Obsessions with Sex and Celebrity",
"datePublished": "2018-09-29T06:00:01-07:00",
"dateModified": "2024-09-19T11:35:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2018/09/MyrowWarhol.mp3",
"sticky": false,
"audioTrackLength": 114,
"path": "/arts/13841824/contact-warhol-dives-into-andys-obsessions-with-sex-and-celebrity",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before there was Instagram and Snapchat, there was Andy Warhol.\u003c/p>\n\u003cp>He anticipated the way we would come to openly acknowledge and then celebrate our fascination with pop culture and, really, ourselves.\u003c/p>\n\u003cp>The visual documentation of that life, 1976-1987, is now on view at the \u003ca class=\"profileLink\" href=\"https://www.facebook.com/CantorArtsCenter/?__tn__=K-R-R&eid=ARDBufKIVySDCrgm1CKcVwR5swFlcpRJ_eXA_mxTdI7LfBeIGnp_LeK5a1FQLRQ-QCvdf1EkyBp5zqKo&fref=mentions&__xts__%5B0%5D=68.ARBfSpOt5PqWlm-x9rcXM2KGDtfRn5kYHDlkL-_JT-qPmXDLmWFcmNbZL3wh-fp7UGlvio2k0eC8eHajg4uNE831QsHDGbibGAEys2SFQ9_akn0DlYWeEaW618tOCSbrFNmXEsDgVTUcn6uCSqRYDs55jYD66Bj67xw_r3WO9tN7RiVpEGpBj7c\">Cantor Arts Center at Stanford University\u003c/a> with \u003ca href=\"https://museum.stanford.edu/exhibitions/contact-warhol-photography-without-end\">\u003ci>Contact Warhol: Photography Without End\u003c/i>\u003c/a>, celebrating the digitization of a huge collection of Warhol’s photographs, the vast majority of which have never been available to the public before.\u003c/p>\n\u003cp>It’s part of a deal with \u003ca href=\"https://warholfoundation.org\" target=\"_blank\" rel=\"noopener\">The Andy Warhol Foundation for the Visual Arts\u003c/a> in New York. To land this prize, Stanford digitized the images that expose Warhol’s artistic process.\u003c/p>\n\u003cfigure id=\"attachment_13841852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-800x257.jpg\" alt=\"Detail from a contact sheet of Andy Warhol, 1986.\" width=\"800\" height=\"257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-800x257.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-768x247.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1020x328.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1200x385.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1920x617.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-1180x379.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-960x308.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-240x77.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-375x120.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow-520x167.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/1-2014.43.2893_detail_Warhol_with_shadow.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a contact sheet of Andy Warhol, 1986. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reared on the flat, iconic paintings of the Byzantine Catholic church he grew up in, Warhol was quick to identify what and how we worship in the modern era — and then capitalize on that.\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>By the late 1970s, the nation’s premier pop artist was a celebrity himself, cashing in on the appetite he created for iconic portraits of the rich and famous. By night, he was also holding court with his posse, a coterie of hot young men and artists in pre-AIDS Manhattan.\u003c/p>\n\u003cp>“The big revelation for me was how good Warhol was as a director, and indeed, as a performer. What matters isn’t actually the end result, but rather the act of shooting,” says co-curator \u003ca href=\"https://english.stanford.edu/people/peggy-phelan\" target=\"_blank\" rel=\"noopener\">Peggy Phelan\u003c/a>, who directs Stanford’s \u003ca href=\"https://arts.stanford.edu/arts-institute/\" target=\"_blank\" rel=\"noopener\">Arts Institute\u003c/a>.\u003c/p>\n\u003cp>Her co-curator is \u003ca href=\"https://art.stanford.edu/people/richard-meyer\" target=\"_blank\" rel=\"noopener\">Richard Meyer\u003c/a> of Stanford’s School of Humanities and Sciences. “This is an exhibition based on an extraordinary collection of 3,600 contact sheets. Not the Polaroids, but every other single photograph that Warhol took from 1976, the year he bought a Minox — his first camera he had that wasn’t a Polaroid — to his unexpected death in 1987,” Meyer says.\u003c/p>\n\u003cfigure id=\"attachment_13841862\" class=\"wp-caption aligncenter\" style=\"max-width: 730px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital.jpg\" alt=\"Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. \" width=\"730\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital.jpg 730w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-160x175.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-240x263.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-375x411.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/4_2014.43.1547_detail_Basquiat_digital-520x570.jpg 520w\" sizes=\"(max-width: 730px) 100vw, 730px\">\u003cfigcaption class=\"wp-caption-text\">Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phelan says Warhol understood that the back story to his public paintings was something interesting in itself. That’s something we can appreciate in 2018 in way we might not have fully grasped in 1978. “He is anticipating our own habit with our cell phone photographs,” she says.\u003c/p>\n\u003cp>In one gallery suite, you can see the process that went into Warhol’s silkscreen of Liza Minnelli.\u003c/p>\n\u003cp>“Warhol is photographing Liza with a Polaroid camera because Polaroids were the sources of the big paintings that we have,” Phelan explains. “But he made sure that someone with a 35 millimeter camera — his 35 millimeter camera — was photographing him. And in this case, he made sure that there was someone filming both the 35 millimeter camera photographing him and him photographing Liza.”\u003c/p>\n\u003cp>Hinting at the size of the collection, blow-ups of the contact sheets ring the rooms on the walls at knee level. Tables waist-high feature samples of the actual contact sheets under plexiglas.\u003c/p>\n\u003cp>Then, mirroring the kind of work done at the \u003ca href=\"http://library.stanford.edu/rumsey\" target=\"_blank\" rel=\"noopener\">David Rumsey Map Center\u003c/a> at Stanford, there’s an interactive table, allowing you to look at anything in the archive digitized over two-and-a-half years by Cantor archivists.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”300″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/506663418″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true”'\n title='”https://api.soundcloud.com/tracks/506663418″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“You can zoom in on one contact sheet, and then one frame within that contact sheet, and that zooming in will then be projected on the screen in the middle of the gallery,” Phelan says.\u003c/p>\n\u003cp>So, a warning here to think about who else is in the gallery with you before you zoom in on any of the sexually explicit photos of Warhol’s friends.\u003c/p>\n\u003cp>These photographs document a now lost world of gay culture in the 1970s and ’80s. We see, for example, many shots of Victor Hugo, the window dresser and boyfriend of fashion designer Roy Halston Frowicknot, having sex with different men. Warhol used those images for a series called \u003cem>Sex Parts\u003c/em>.\u003c/p>\n\u003cp>In a nod to modern sensitivities about sexual exploitation, Phelan says she and Meyer chose to crop the heads off of explicit images. “We were quite conscious of the risks of showing the faces of men who were engaged in sex acts 35 years ago who may or may not want to be identified now,” Phelan says.\u003c/p>\n\u003cfigure id=\"attachment_13841865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841865\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-800x705.jpg\" alt=\"Contact Sheet [Debbie Harry portrait photo shoot, Chris Stein; Victor Hugo, Bianca Jagger, others in club; Dog; Bianca in a kitchen], 1980. Gelatin silver print.\" width=\"800\" height=\"705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-768x677.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-240x212.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-375x330.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/6-2014.43.688_D_Harry_digital-520x458.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Contact Sheet [Debbie Harry portrait photo shoot, Chris Stein; Victor Hugo, Bianca Jagger, others in club; Dog; Bianca in a kitchen], 1980. Gelatin silver print. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those, she means, who are still alive today. “Looking at it in 2018, you can’t but see the kind of sexual freedom and almost jubilation,” Meyer says, before adding “Not Warhol. He’s not jubilant. He very rarely smiles!”\u003c/p>\n\u003cp>Meyer adds something that might not seem obvious in this age: “These were not selfies,” Meyers says. “He was not holding the camera out in front of him. He passed the camera to assistants to other people at the dinner parties, at Studio 54, at the discotheque. But every photograph taken by his camera is considered a Warhol.\u003c/p>\n\u003cp>“Warhol is the most pictured person in the contact sheets, and his boyfriend, John Gould, who was his last boyfriend, [was] the second most photographed.”\u003c/p>\n\u003cp>Gould died of HIV/AIDS-related complications in 1986, a year before Warhol’s death after gallbladder surgery.\u003c/p>\n\u003cp>“He took his tape recorder and his pocket-sized camera with him every night when he went out, and he was very proud of going out every night,” Meyer says.\u003c/p>\n\u003cfigure id=\"attachment_13841864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841864 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-800x818.jpg\" alt=\"Jean-Michel Basquiat, ca. 1982. Acrylic, silkscreen ink, and urine on canvas. \" width=\"800\" height=\"818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-800x818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1020x1042.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1174x1200.jpg 1174w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-1180x1206.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-960x981.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-240x245.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-375x383.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-520x531.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32998_L.3.56.2018_Basquiat_painting-qut-64x64.jpg 64w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat, ca. 1982. Acrylic, silkscreen ink, and urine on canvas. \u003ccite>(Photo: Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Altogether, the exhibition documents a point in time when superstars of that era wanted to be photographed by Warhol, or with him: Debbie Harry, Michael Jackson, John Lennon, Dolly Parton, Keith Haring, Jean-Michel Basquiat, Nancy Reagan, Maria Shriver and Arnold Schwarzenegger, to name a few.\u003c/p>\n\u003cp>They understood instinctively what Warhol was doing, and they wanted to bask in the refracted light of his vision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong style=\"font-style: italic\">Contact Warhol: Photography Without End \u003c/strong>r\u003ci>uns September 29, 2018 through January 6, 2019 at the Cantor Arts Center on the Stanford campus in Palo Alto. For more information, click \u003ca href=\"https://museum.stanford.edu/exhibitions/contact-warhol-photography-without-end\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13841824/contact-warhol-dives-into-andys-obsessions-with-sex-and-celebrity",
"authors": [
"251"
],
"categories": [
"arts_1",
"arts_235",
"arts_70"
],
"tags": [
"arts_3752",
"arts_3935",
"arts_1255",
"arts_1315",
"arts_5612",
"arts_4642",
"arts_3001",
"arts_2309",
"arts_5165",
"arts_5164"
],
"featImg": "arts_13841860",
"label": "arts"
},
"arts_13841880": {
"type": "posts",
"id": "arts_13841880",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13841880",
"score": null,
"sort": [
1538180149000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1538180149,
"format": "standard",
"title": "Marty Balin, Founder of Jefferson Airplane, Dies at 76",
"headTitle": "Marty Balin, Founder of Jefferson Airplane, Dies at 76 | KQED",
"content": "\u003cp>Singer Marty Balin of the Jefferson Airplane has died. He was 76.\u003c/p>\n\u003cp>Spokesman Ryan Romenesko said Balin died Thursday in Tampa, Florida, where he was on the way to the hospital. The cause of death was not immediately available.\u003c/p>\n\u003cp>Balin was a patron of the 1960s “San Francisco Sound” both as founder and lead singer of the Airplane and co-owner of the Matrix, the nightclub where the Airplane and other Bay Area bands performed. He was known for ballads such as “Today” and “Miracles” and such solo hits as “Hearts” and “Atlanta Lady.”\u003c/p>\n\u003cp>The Airplane was inducted into the Rock and Roll Hall of Fame in 1996. Balin is the third member of the original group to die since 2016, when Paul Kantner and Signe Anderson passed away.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 141,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705027190,
"excerpt": "The songwriter and vocalist was a central figure in the 'San Francisco Sound.'",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The songwriter and vocalist was a central figure in the 'San Francisco Sound.'",
"title": "Marty Balin, Founder of Jefferson Airplane, Dies at 76 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Marty Balin, Founder of Jefferson Airplane, Dies at 76",
"datePublished": "2018-09-28T17:15:49-07:00",
"dateModified": "2024-01-11T18:39:50-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "marty-balin-founder-of-jefferson-airplane-dies-at-76",
"status": "publish",
"nprByline": "Hillel Italie, Associated Press",
"sticky": false,
"path": "/arts/13841880/marty-balin-founder-of-jefferson-airplane-dies-at-76",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer Marty Balin of the Jefferson Airplane has died. He was 76.\u003c/p>\n\u003cp>Spokesman Ryan Romenesko said Balin died Thursday in Tampa, Florida, where he was on the way to the hospital. The cause of death was not immediately available.\u003c/p>\n\u003cp>Balin was a patron of the 1960s “San Francisco Sound” both as founder and lead singer of the Airplane and co-owner of the Matrix, the nightclub where the Airplane and other Bay Area bands performed. He was known for ballads such as “Today” and “Miracles” and such solo hits as “Hearts” and “Atlanta Lady.”\u003c/p>\n\u003cp>The Airplane was inducted into the Rock and Roll Hall of Fame in 1996. Balin is the third member of the original group to die since 2016, when Paul Kantner and Signe Anderson passed away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13841880/marty-balin-founder-of-jefferson-airplane-dies-at-76",
"authors": [
"byline_arts_13841880"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_5426",
"arts_596",
"arts_1091"
],
"featImg": "arts_13841882",
"label": "arts"
},
"arts_13841872": {
"type": "posts",
"id": "arts_13841872",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13841872",
"score": null,
"sort": [
1538177009000
]
},
"guestAuthors": [],
"slug": "jerry-brown-vetoes-4am-nightlife-bill-for-california-cities",
"title": "Jerry Brown Vetoes 4 AM Nightlife Bill for California Cities",
"publishDate": 1538177009,
"format": "standard",
"headTitle": "Jerry Brown Vetoes 4 AM Nightlife Bill for California Cities | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Gov. Jerry Brown vetoed a bill Friday that would have allowed nine California cities, including San Francisco and Oakland, to permit alcohol sales until 4 a.m.\u003c/p>\n\u003cp>SB 905, introduced by state Sen. Scott Wiener (D-San Francisco), sought to create a five-year pilot program for bars, nightclubs, and restaurants to serve alcohol in participating cities two hours later than presently allowed, with municipalities able to extend last-call in certain neighborhoods or with other restrictions.\u003c/p>\n\u003cp>[contextly_sidebar id=”4NqKYklvou67S1RJAR5mlnxw20JsnUza”]\u003c/p>\n\u003cp>Brown prefers the current cutoff.\u003c/p>\n\u003cp>Writing that the California Highway Patrol believes the bill would lead to more drunk driving, Brown declined to sign SB 905 into law.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“California’s laws regulating late-night drinking have been on the books since 1913,” Brown said in a statement. “I believe we have enough mischief from midnight to 2 without adding two more hours of mayhem.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/brown-800x711.jpg\" alt=\"\" width=\"800\" height=\"711\" class=\"aligncenter size-medium wp-image-13841874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown-768x682.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown-1020x906.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown-960x853.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown-240x213.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown-375x333.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown-520x462.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In a statement following the veto, Wiener called the 2 a.m. limit a “bad leftover policy from over a century ago” and said he’d reintroduce the bill in 2019. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It is a shame that we will continue to stifle our nightlife economy, but I remain committed to modernizing these outdated laws,” Wiener said.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The bill would have permitted some cities, including San Francisco and Oakland, to permit alcohol sales until 4 a.m.",
"status": "publish",
"parent": 0,
"modified": 1726770954,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 213
},
"headData": {
"title": "Jerry Brown Vetoes 4 AM Nightlife Bill for California Cities | KQED",
"description": "The bill would have permitted some cities, including San Francisco and Oakland, to permit alcohol sales until 4 a.m.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Jerry Brown Vetoes 4 AM Nightlife Bill for California Cities",
"datePublished": "2018-09-28T16:23:29-07:00",
"dateModified": "2024-09-19T11:35:54-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13841872/jerry-brown-vetoes-4am-nightlife-bill-for-california-cities",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gov. Jerry Brown vetoed a bill Friday that would have allowed nine California cities, including San Francisco and Oakland, to permit alcohol sales until 4 a.m.\u003c/p>\n\u003cp>SB 905, introduced by state Sen. Scott Wiener (D-San Francisco), sought to create a five-year pilot program for bars, nightclubs, and restaurants to serve alcohol in participating cities two hours later than presently allowed, with municipalities able to extend last-call in certain neighborhoods or with other restrictions.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Brown prefers the current cutoff.\u003c/p>\n\u003cp>Writing that the California Highway Patrol believes the bill would lead to more drunk driving, Brown declined to sign SB 905 into law.\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>“California’s laws regulating late-night drinking have been on the books since 1913,” Brown said in a statement. “I believe we have enough mischief from midnight to 2 without adding two more hours of mayhem.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/brown-800x711.jpg\" alt=\"\" width=\"800\" height=\"711\" class=\"aligncenter size-medium wp-image-13841874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown-768x682.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown-1020x906.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown-960x853.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown-240x213.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown-375x333.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown-520x462.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/brown.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In a statement following the veto, Wiener called the 2 a.m. limit a “bad leftover policy from over a century ago” and said he’d reintroduce the bill in 2019. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It is a shame that we will continue to stifle our nightlife economy, but I remain committed to modernizing these outdated laws,” Wiener said.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13841872/jerry-brown-vetoes-4am-nightlife-bill-for-california-cities",
"authors": [
"11091"
],
"categories": [
"arts_235"
],
"tags": [
"arts_1118",
"arts_596"
],
"featImg": "arts_13841875",
"label": "arts"
},
"arts_13841687": {
"type": "posts",
"id": "arts_13841687",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13841687",
"score": null,
"sort": [
1537994035000
]
},
"guestAuthors": [],
"slug": "sydney-goldstein-founder-of-city-arts-lectures-dies-at-73",
"title": "Sydney Goldstein, Founder of City Arts & Lectures, Dies at 73",
"publishDate": 1537994035,
"format": "standard",
"headTitle": "Sydney Goldstein, Founder of City Arts & Lectures, Dies at 73 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Sydney Goldstein, the founder of esteemed conversation series City Arts & Lectures, died Tuesday, Sept. 25 in Los Angeles, her daughter Kate Goldstein-Breyer confirmed. She was 73.\u003c/p>\n\u003cp>The San Francisco native launched City Arts & Lectures in 1980 and oversaw programming, which involved pairing guests such as Ta Nehisi-Coates and Edward Snowden with interlocutors including Dave Eggers and Michael Krasny, until her retirement in 2017. An enduring cultural figure, Goldstein also masterminded renovation of the 1,600-seat Nourse Theater in 2013.\u003c/p>\n\u003cp>After organizing talks at College of Marin in the 1970s, Goldstein built City Arts & Lectures into a lean organization with remarkable access to leading intellectuals and celebrities and a keen sense for maintaining relevance. Yet the spartan setup—a vase of flowers between two chairs, conversation and questions from the audience—has changed little over the decades.\u003c/p>\n\u003cp>[contextly_sidebar id=”ghFWesmhzOP62dxXkfFARG12In4BF7ZA”]\u003c/p>\n\u003cp>Goldstein also partnered with KQED to broadcast the talks to the Bay Area, as well as more than 130 public radio stations nationwide. The partnership continues to this day, while the historical tapes are archived at UC Berkeley’s Bancroft Library. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2012, when the series’ longtime venue Herbst Theater closed for renovation, Goldstein oversaw refurbishment of the sleepy Nourse Theater on Hayes Street. Facing an estimated cost of some $20 million, Goldstein pulled it off for less than $2 million.\u003c/p>\n\u003cp>“It was an incredible feat,” said KQED Forum host Michael Krasny of the renovation. “And she was exactly the person to make it happen.”\u003c/p>\n\u003cp>Krasny, a regular City Arts & Lectures interviewer, remembered his longtime friend as a local institution. “She had an extraordinary talent for pairing people in conversation and she built a program that really became a model for the entire country,” he said.\u003c/p>\n\u003cp>Author-publisher Eggers, who sits on the series’ board, also credited Goldstein with forerunning the live conversation trend. “It’s almost wholly replaced the lecture as the way to know what’s on the minds of the world’s thinkers,” Eggers \u003ca href=\"https://datebook.sfchronicle.com/entertainment/sydney-goldstein-founder-of-city-arts-lectures-dies-at-73\">told\u003c/a> the \u003cem>San Francisco Chronicle\u003c/em>. \u003c/p>\n\u003cp>Goldstein was born Oct. 13, 1944 to shopkeeper parents in San Francisco, and graduated from Lowell High School before working as a writer, artist assistant, and cocktail waitress, among other gigs. In 1975, she married federal court judge Charles Breyer. Her daughter Kate was born in 1979, followed by son Joseph in 1983. Kate became co-director of City Arts & Lectures, alongside staffer Holly Mulder-Wollan, upon \u003ca href=\"https://www.kqed.org/arts/13593404/after-36-years-founder-of-city-arts-lectures-retires\" rel=\"noopener\" target=\"_blank\">Goldstein’s retirement last year\u003c/a>. \u003c/p>\n\u003cp>Goldstein is survived by her husband Charles Breyer, sister Dorian Lewis, daughter Kate Goldstein-Breyer, son Joseph Breyer, and three grandchildren. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/forum/201304291000/a-new-home-for-city-arts-lectures\" rel=\"noopener\" target=\"_blank\">Listen to Sydney Goldstein on a 2013 episode of KQED’s Forum here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The founder of the esteemed conversation series had 'an extraordinary talent for pairing people in conversation.'",
"status": "publish",
"parent": 0,
"modified": 1726704854,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 467
},
"headData": {
"title": "Sydney Goldstein, Founder of City Arts & Lectures, Dies at 73 | KQED",
"description": "The founder of the esteemed conversation series had 'an extraordinary talent for pairing people in conversation.'",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sydney Goldstein, Founder of City Arts & Lectures, Dies at 73",
"datePublished": "2018-09-26T13:33:55-07:00",
"dateModified": "2024-09-18T17:14:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13841687/sydney-goldstein-founder-of-city-arts-lectures-dies-at-73",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sydney Goldstein, the founder of esteemed conversation series City Arts & Lectures, died Tuesday, Sept. 25 in Los Angeles, her daughter Kate Goldstein-Breyer confirmed. She was 73.\u003c/p>\n\u003cp>The San Francisco native launched City Arts & Lectures in 1980 and oversaw programming, which involved pairing guests such as Ta Nehisi-Coates and Edward Snowden with interlocutors including Dave Eggers and Michael Krasny, until her retirement in 2017. An enduring cultural figure, Goldstein also masterminded renovation of the 1,600-seat Nourse Theater in 2013.\u003c/p>\n\u003cp>After organizing talks at College of Marin in the 1970s, Goldstein built City Arts & Lectures into a lean organization with remarkable access to leading intellectuals and celebrities and a keen sense for maintaining relevance. Yet the spartan setup—a vase of flowers between two chairs, conversation and questions from the audience—has changed little over the decades.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Goldstein also partnered with KQED to broadcast the talks to the Bay Area, as well as more than 130 public radio stations nationwide. The partnership continues to this day, while the historical tapes are archived at UC Berkeley’s Bancroft Library. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2012, when the series’ longtime venue Herbst Theater closed for renovation, Goldstein oversaw refurbishment of the sleepy Nourse Theater on Hayes Street. Facing an estimated cost of some $20 million, Goldstein pulled it off for less than $2 million.\u003c/p>\n\u003cp>“It was an incredible feat,” said KQED Forum host Michael Krasny of the renovation. “And she was exactly the person to make it happen.”\u003c/p>\n\u003cp>Krasny, a regular City Arts & Lectures interviewer, remembered his longtime friend as a local institution. “She had an extraordinary talent for pairing people in conversation and she built a program that really became a model for the entire country,” he said.\u003c/p>\n\u003cp>Author-publisher Eggers, who sits on the series’ board, also credited Goldstein with forerunning the live conversation trend. “It’s almost wholly replaced the lecture as the way to know what’s on the minds of the world’s thinkers,” Eggers \u003ca href=\"https://datebook.sfchronicle.com/entertainment/sydney-goldstein-founder-of-city-arts-lectures-dies-at-73\">told\u003c/a> the \u003cem>San Francisco Chronicle\u003c/em>. \u003c/p>\n\u003cp>Goldstein was born Oct. 13, 1944 to shopkeeper parents in San Francisco, and graduated from Lowell High School before working as a writer, artist assistant, and cocktail waitress, among other gigs. In 1975, she married federal court judge Charles Breyer. Her daughter Kate was born in 1979, followed by son Joseph in 1983. Kate became co-director of City Arts & Lectures, alongside staffer Holly Mulder-Wollan, upon \u003ca href=\"https://www.kqed.org/arts/13593404/after-36-years-founder-of-city-arts-lectures-retires\" rel=\"noopener\" target=\"_blank\">Goldstein’s retirement last year\u003c/a>. \u003c/p>\n\u003cp>Goldstein is survived by her husband Charles Breyer, sister Dorian Lewis, daughter Kate Goldstein-Breyer, son Joseph Breyer, and three grandchildren. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/forum/201304291000/a-new-home-for-city-arts-lectures\" rel=\"noopener\" target=\"_blank\">Listen to Sydney Goldstein on a 2013 episode of KQED’s Forum here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13841687/sydney-goldstein-founder-of-city-arts-lectures-dies-at-73",
"authors": [
"11091"
],
"categories": [
"arts_1",
"arts_235",
"arts_1564"
],
"tags": [
"arts_2883",
"arts_1118",
"arts_746",
"arts_596",
"arts_1091",
"arts_1072"
],
"featImg": "arts_13593408",
"label": "arts"
},
"arts_13841509": {
"type": "posts",
"id": "arts_13841509",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13841509",
"score": null,
"sort": [
1537811533000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1537811533,
"format": "standard",
"title": "SiriusXM Presses Play on Deal with Pandora Media",
"headTitle": "SiriusXM Presses Play on Deal with Pandora Media | KQED",
"content": "\u003carticle id=\"contentArea\" class=\" \">\n\u003cdiv class=\"articleBody\">\n\u003cp>Subscription radio company SiriusXM says it’s buying music streaming service Pandora Media Inc. in a deal valued at about $3.5 billion that will allow it to expand its service beyond cars and into mobile devices and homes.\u003c/p>\n\u003cp>Pandora has faced intense pressure from competitors like Spotify and Apple. Its last quarterly profit was in December 2014.\u003c/p>\n\u003cp>But a buyout by SiriusXM, which made a $480 million investment in Pandora in June 2017, may be the boost the business needs.\u003c/p>\n\u003cp>The ability to provide a subscription service that gives Pandora customers access to streaming music and satellite radio could help set it apart from its rivals and would likely draw in new customers. And SiriusXM’s relationships with automobile companies will open the door for Pandora to have better distribution in that market.\u003c/p>\n\u003cp>Meanwhile, the deal will help SiriusXM tap into Pandora’s mobile strength while giving it the chance to improve in areas such as making personalized listening recommendations.\u003c/p>\n\u003cp>New York-based SiriusXM Holdings Inc. has more than 36 million subscribers in North America, while Pandora has more than 70 million monthly active users.\u003c/p>\n\u003cp>Maria Ripps of Canaccord Genuity noted that data from the Recording Industry Association of America indicates consumers are increasingly moving away from physical music purchases like CDs, as well as from digital downloads, in favor of streaming. Streaming subscriptions are now the fastest-growing segment of the music market, with paid subscription revenue up 37 percent in the year’s first half, Ripps said in a research note.\u003c/p>\n\u003cp>Pandora stockholders will receive 1.44 newly issued SiriusXM shares for each Pandora share they own. Pandora also has a “go-shop” period in which it can solicit other offers from third parties.\u003c/p>\n\u003cp>SiriusXM said both brands will continue to exist, along with their respective products and services.\u003c/p>\n\u003cp>Both companies’ boards have approved the deal, which is expected to close in 2019′s first quarter. It still needs approval from Pandora shareholders.\u003c/p>\n\u003cp>Shares of Pandora, which is based in Oakland, California, rose nearly 3 percent Monday. SiriusXM’s stock tumbled 7.5 percent.\u003c/p>\n\u003c/div>\n\u003c/article>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 358,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705027218,
"excerpt": "Subscription radio company SiriusXM says it’s buying music streaming service Pandora Media Inc. in a deal valued at about $3.5 billion.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Subscription radio company SiriusXM says it’s buying music streaming service Pandora Media Inc. in a deal valued at about $3.5 billion.",
"title": "SiriusXM Presses Play on Deal with Pandora Media | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "SiriusXM Presses Play on Deal with Pandora Media",
"datePublished": "2018-09-24T10:52:13-07:00",
"dateModified": "2024-01-11T18:40:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "siriusxm-presses-play-on-deal-with-pandora-media",
"status": "publish",
"nprByline": "Associated Press",
"sticky": false,
"path": "/arts/13841509/siriusxm-presses-play-on-deal-with-pandora-media",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003carticle id=\"contentArea\" class=\" \">\n\u003cdiv class=\"articleBody\">\n\u003cp>Subscription radio company SiriusXM says it’s buying music streaming service Pandora Media Inc. in a deal valued at about $3.5 billion that will allow it to expand its service beyond cars and into mobile devices and homes.\u003c/p>\n\u003cp>Pandora has faced intense pressure from competitors like Spotify and Apple. Its last quarterly profit was in December 2014.\u003c/p>\n\u003cp>But a buyout by SiriusXM, which made a $480 million investment in Pandora in June 2017, may be the boost the business needs.\u003c/p>\n\u003cp>The ability to provide a subscription service that gives Pandora customers access to streaming music and satellite radio could help set it apart from its rivals and would likely draw in new customers. And SiriusXM’s relationships with automobile companies will open the door for Pandora to have better distribution in that market.\u003c/p>\n\u003cp>Meanwhile, the deal will help SiriusXM tap into Pandora’s mobile strength while giving it the chance to improve in areas such as making personalized listening recommendations.\u003c/p>\n\u003cp>New York-based SiriusXM Holdings Inc. has more than 36 million subscribers in North America, while Pandora has more than 70 million monthly active users.\u003c/p>\n\u003cp>Maria Ripps of Canaccord Genuity noted that data from the Recording Industry Association of America indicates consumers are increasingly moving away from physical music purchases like CDs, as well as from digital downloads, in favor of streaming. Streaming subscriptions are now the fastest-growing segment of the music market, with paid subscription revenue up 37 percent in the year’s first half, Ripps said in a research note.\u003c/p>\n\u003cp>Pandora stockholders will receive 1.44 newly issued SiriusXM shares for each Pandora share they own. Pandora also has a “go-shop” period in which it can solicit other offers from third parties.\u003c/p>\n\u003cp>SiriusXM said both brands will continue to exist, along with their respective products and services.\u003c/p>\n\u003cp>Both companies’ boards have approved the deal, which is expected to close in 2019′s first quarter. It still needs approval from Pandora shareholders.\u003c/p>\n\u003cp>Shares of Pandora, which is based in Oakland, California, rose nearly 3 percent Monday. SiriusXM’s stock tumbled 7.5 percent.\u003c/p>\n\u003c/div>\n\u003c/article>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13841509/siriusxm-presses-play-on-deal-with-pandora-media",
"authors": [
"byline_arts_13841509"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1935"
],
"featImg": "arts_13841521",
"label": "arts"
},
"arts_13841413": {
"type": "posts",
"id": "arts_13841413",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13841413",
"score": null,
"sort": [
1537621246000
]
},
"guestAuthors": [],
"slug": "bay-area-south-asian-film-festival-showcases-talent-on-both-sides-of-the-pacific",
"title": "Bay Area South Asian Film Festival Showcases Talent on Both Sides of the Pacific",
"publishDate": 1537621246,
"format": "audio",
"headTitle": "Bay Area South Asian Film Festival Showcases Talent on Both Sides of the Pacific | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Perhaps you’re one of the legions ready to binge-watch season two of the crime thriller \u003ca href=\"https://www.netflix.com/title/80115328\" target=\"_blank\" rel=\"noopener\">\u003cem>Sacred Games\u003c/em>\u003c/a> on Netflix. Season one has proved so popular, the ever expanding streaming video giant is game to bet millions producing another series following the exploits of policeman Sartaj Singh (played by Saif Ali Khan).\u003c/p>\n\u003cp>The show is based on the 2006 novel by \u003ca href=\"https://english.berkeley.edu/users/22\" target=\"_blank\" rel=\"noopener\">Vikram Chandra\u003c/a>, a modern-day Raymond Chandler whose main character in this epic is the city of Mumbai, or at least its seamy underbelly, teaming with chatty, charismatic killers and brooding cops.\u003c/p>\n\u003cp>Perhaps less known is the fact Chandra is a professor at UC Berkeley. He splits his time between Mumbai and Oakland, and he’ll be speaking at panel discussion on technology in entertainment this weekend as part of \u003ca href=\"https://basafilmfestival.com\" target=\"_blank\" rel=\"noopener\">The Bay Area South Asian Film Festival\u003c/a>.[youtube https://www.youtube.com/watch?v=28j8h0RRov4]\u003c/p>\n\u003cp>This is the festival’s debut, which demonstrates a conversation happening across the Pacific between South Asia and the South Asian diaspora here in the San Francisco Bay Area.\u003c/p>\n\u003cp>Aniruddha Dasgupta is festival director, when he’s not working his day job as director of product engineering at Visa. His work putting the festival together, he says, is “my way of actively engaging myself — and also a few other people” seeking entertainment, but also inspiration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dasgupta says, “We wanted to select films which talk about diversity, innovation and also how we can encourage the next gen[eration of] storytellers.”\u003c/p>\n\u003cp>To that end, this festival is a showcase for politically relevant topics like \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2017/02/28/suspect-in-kansas-bar-shooting-of-indians-apparently-thought-they-were-iranians/\" target=\"_blank\" rel=\"noopener\">racially motivated violence\u003c/a> and LGBTQ rights. The one documentary on the schedule, Sangeeta Datta’s \u003ci>Bird of Dusk\u003c/i>, profiles a prolific Bengali filmmaker who was also one of the few openly gay figures in Indian cinema.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=oqIDoz3nRz8]\u003c/p>\n\u003cp>Before his death in 2013 at 49, Rituparno Ghosh created close to two dozen films, some of which now rest alongside the work of his cinematic idols, Satyajit Ray and Aparna Sen.\u003c/p>\n\u003cp>Some of the feature films and shorts at the festival are available online, but it’s more exciting to watch in a theater filled with hundreds of people primed to celebrate South Asian creativity across the Pacific and here at home.\u003c/p>\n\u003cp>“You get to be sitting in a seat with someone who is as appreciative or more appreciative than you, and so the collective energy in the room starts to matter,” says Vinita Sud Belani, artistic director and founder of the Bay Area-based South Asian theater company \u003ca href=\"http://enacte.org/production/queen/\" target=\"_blank\" rel=\"noopener\">EnActe Arts\u003c/a>, which is performing at the festival.\u003c/p>\n\u003cp>\u003cem>Queen\u003c/em> is a play about two UC Santa Cruz scientists days away from a publishing a paper when they discover a troubling anomaly in their last batch of data. The title of the play refers to the subject their study: colony collapse disorder, the phenomenon that occurs when the majority of worker bees in a colony disappear.\u003c/p>\n\u003cp>The play was written by Madhuri Shekar, who was born in the Bay Area. “We’ve done a play of hers before,” Belani says of Shekar. “She was in her twenties when she started writing theater, and she’s really going places.”\u003c/p>\n\u003cfigure id=\"attachment_13841426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841426 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-800x511.jpg\" alt=\"The Bay Area South Asian Film Festival features a lot more than film, including music, dance and theater; in particular the play Queen, performed by EnActe Arts.\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-1200x767.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-520x332.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Area South Asian Film Festival features a lot more than film, including music, dance and theater; in particular the play Queen, performed by EnActe Arts. \u003ccite>(Photo: Courtesy of EnActe Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>EnActe will perform \u003cem>Queen\u003c/em> again next weekend at DeAnza College’s Visual and Performing Arts Center in Cupertino, where UC Santa Cruz is partnering with the theater company to put on a panel discussion about the topic the play’s researchers are focused on.\u003c/p>\n\u003cp>“There are three women scientists who are going to talk about the reality of being scientists,” Belani says.\u003c/p>\n\u003cp>Altogether, it’s a promising start for a festival produced and tailored to anticipate the interests of a local South Asian audience here in Silicon Valley. Stay tuned to see if there’s a “season two” for the \u003cem>Bay Area South Asian Film Festival\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>Bay Area South Asian Film Festival\u003c/strong> runs through Sept. 23, 2018 at the Mountain View Center for the Performing Arts. For more information, click \u003ca href=\"https://basafilmfestival.com\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>.\u003c/a>\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Bay Area South Asian Film Festival launches its debut season September 21-23 in Palo Alto and Mountain View.",
"status": "publish",
"parent": 0,
"modified": 1726770966,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 735
},
"headData": {
"title": "Bay Area South Asian Film Festival Showcases Talent on Both Sides of the Pacific | KQED",
"description": "The Bay Area South Asian Film Festival launches its debut season September 21-23 in Palo Alto and Mountain View.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bay Area South Asian Film Festival Showcases Talent on Both Sides of the Pacific",
"datePublished": "2018-09-22T06:00:46-07:00",
"dateModified": "2024-09-19T11:36:06-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2018/09/SouthAsianFilmFestival.mp3",
"sticky": false,
"audioTrackLength": 112,
"path": "/arts/13841413/bay-area-south-asian-film-festival-showcases-talent-on-both-sides-of-the-pacific",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perhaps you’re one of the legions ready to binge-watch season two of the crime thriller \u003ca href=\"https://www.netflix.com/title/80115328\" target=\"_blank\" rel=\"noopener\">\u003cem>Sacred Games\u003c/em>\u003c/a> on Netflix. Season one has proved so popular, the ever expanding streaming video giant is game to bet millions producing another series following the exploits of policeman Sartaj Singh (played by Saif Ali Khan).\u003c/p>\n\u003cp>The show is based on the 2006 novel by \u003ca href=\"https://english.berkeley.edu/users/22\" target=\"_blank\" rel=\"noopener\">Vikram Chandra\u003c/a>, a modern-day Raymond Chandler whose main character in this epic is the city of Mumbai, or at least its seamy underbelly, teaming with chatty, charismatic killers and brooding cops.\u003c/p>\n\u003cp>Perhaps less known is the fact Chandra is a professor at UC Berkeley. He splits his time between Mumbai and Oakland, and he’ll be speaking at panel discussion on technology in entertainment this weekend as part of \u003ca href=\"https://basafilmfestival.com\" target=\"_blank\" rel=\"noopener\">The Bay Area South Asian Film Festival\u003c/a>.\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/28j8h0RRov4'\n title='//www.youtube.com/embed/28j8h0RRov4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This is the festival’s debut, which demonstrates a conversation happening across the Pacific between South Asia and the South Asian diaspora here in the San Francisco Bay Area.\u003c/p>\n\u003cp>Aniruddha Dasgupta is festival director, when he’s not working his day job as director of product engineering at Visa. His work putting the festival together, he says, is “my way of actively engaging myself — and also a few other people” seeking entertainment, but also inspiration.\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>Dasgupta says, “We wanted to select films which talk about diversity, innovation and also how we can encourage the next gen[eration of] storytellers.”\u003c/p>\n\u003cp>To that end, this festival is a showcase for politically relevant topics like \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2017/02/28/suspect-in-kansas-bar-shooting-of-indians-apparently-thought-they-were-iranians/\" target=\"_blank\" rel=\"noopener\">racially motivated violence\u003c/a> and LGBTQ rights. The one documentary on the schedule, Sangeeta Datta’s \u003ci>Bird of Dusk\u003c/i>, profiles a prolific Bengali filmmaker who was also one of the few openly gay figures in Indian cinema.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oqIDoz3nRz8'\n title='//www.youtube.com/embed/oqIDoz3nRz8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Before his death in 2013 at 49, Rituparno Ghosh created close to two dozen films, some of which now rest alongside the work of his cinematic idols, Satyajit Ray and Aparna Sen.\u003c/p>\n\u003cp>Some of the feature films and shorts at the festival are available online, but it’s more exciting to watch in a theater filled with hundreds of people primed to celebrate South Asian creativity across the Pacific and here at home.\u003c/p>\n\u003cp>“You get to be sitting in a seat with someone who is as appreciative or more appreciative than you, and so the collective energy in the room starts to matter,” says Vinita Sud Belani, artistic director and founder of the Bay Area-based South Asian theater company \u003ca href=\"http://enacte.org/production/queen/\" target=\"_blank\" rel=\"noopener\">EnActe Arts\u003c/a>, which is performing at the festival.\u003c/p>\n\u003cp>\u003cem>Queen\u003c/em> is a play about two UC Santa Cruz scientists days away from a publishing a paper when they discover a troubling anomaly in their last batch of data. The title of the play refers to the subject their study: colony collapse disorder, the phenomenon that occurs when the majority of worker bees in a colony disappear.\u003c/p>\n\u003cp>The play was written by Madhuri Shekar, who was born in the Bay Area. “We’ve done a play of hers before,” Belani says of Shekar. “She was in her twenties when she started writing theater, and she’s really going places.”\u003c/p>\n\u003cfigure id=\"attachment_13841426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841426 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-800x511.jpg\" alt=\"The Bay Area South Asian Film Festival features a lot more than film, including music, dance and theater; in particular the play Queen, performed by EnActe Arts.\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-1200x767.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-960x614.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-375x240.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/RS32931_Screen-Shot-2018-09-21-at-7.25.20-PM-qut-520x332.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Area South Asian Film Festival features a lot more than film, including music, dance and theater; in particular the play Queen, performed by EnActe Arts. \u003ccite>(Photo: Courtesy of EnActe Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>EnActe will perform \u003cem>Queen\u003c/em> again next weekend at DeAnza College’s Visual and Performing Arts Center in Cupertino, where UC Santa Cruz is partnering with the theater company to put on a panel discussion about the topic the play’s researchers are focused on.\u003c/p>\n\u003cp>“There are three women scientists who are going to talk about the reality of being scientists,” Belani says.\u003c/p>\n\u003cp>Altogether, it’s a promising start for a festival produced and tailored to anticipate the interests of a local South Asian audience here in Silicon Valley. Stay tuned to see if there’s a “season two” for the \u003cem>Bay Area South Asian Film Festival\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>Bay Area South Asian Film Festival\u003c/strong> runs through Sept. 23, 2018 at the Mountain View Center for the Performing Arts. For more information, click \u003ca href=\"https://basafilmfestival.com\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13841413/bay-area-south-asian-film-festival-showcases-talent-on-both-sides-of-the-pacific",
"authors": [
"251"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_235",
"arts_967",
"arts_990"
],
"tags": [
"arts_1118",
"arts_1201",
"arts_596",
"arts_4642",
"arts_3001",
"arts_5618"
],
"featImg": "arts_13841415",
"label": "arts_140"
},
"arts_13841293": {
"type": "posts",
"id": "arts_13841293",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13841293",
"score": null,
"sort": [
1537471810000
]
},
"guestAuthors": [],
"slug": "ticketmaster-has-its-own-secret-scalping-program-canadian-journalists-report",
"title": "Ticketmaster Has Its Own Secret 'Scalping Program,' Canadian Journalists Report",
"publishDate": 1537471810,
"format": "standard",
"headTitle": "Ticketmaster Has Its Own Secret ‘Scalping Program,’ Canadian Journalists Report | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003cem>\u003cstrong>Updated 11:35 a.m. Sep. 20 \u003c/strong>with portions of a statement from Ticketmaster in response to the CBC and \u003c/em>Toronto Star\u003cem>‘s reporting.\u003c/em>\u003c/p>\n\u003cp>A team of Canadian journalists — from the Canadian Broadcasting Corporation (CBC), a public radio and television broadcaster, and the \u003cem>Toronto Star\u003c/em> newspaper — \u003ca href=\"https://www.cbc.ca/news/business/a-public-relations-nightmare-ticketmaster-recruits-pros-for-secret-scalper-program-1.4828535\">reported\u003c/a> on Wednesday that Ticketmaster, the live-event box office behemoth, has developed a secret tool called \u003ca href=\"https://tradedesk.ticketmaster.com/\">TradeDesk\u003c/a> that assists professional “scalpers” to resell tickets in ways that would seem to violate Ticketmaster’s own rules — and from which Ticketmaster would ostensibly benefit.\u003c/p>\n\u003cp>Two of the journalists went undercover with hidden cameras and posed as professional resellers to attend Ticket Summit 2018, a trade convention held in July at Caesars Palace in Las Vegas. A CBC journalist also obtained access to an online video conference demonstration of the TradeDesk platform back in March.\u003c/p>\n\u003cp>[contextly_sidebar id=”BuVGuCtbRdpVD00tgnEq1skdqKYTlv3L”]\u003c/p>\n\u003cp>In footage obtained by the journalists, a man purported to be a TradeDesk sales representative told them that the resellers he works with have “literally a couple of hundred” Ticketmaster.com accounts apiece — a violation of Ticketmaster’s own terms of use — through which they can buy huge swaths of tickets for resale, and that Ticketmaster’s “buyer abuse” division does not investigate at least some TradeDesk users.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the March video presentation, the CBC reports, a Ticketmaster employee said that 100 resellers across North America were using TradeDesk to each sell somewhere between a few thousand and several million tickets per year — “I think our biggest broker right now has probably grabbed around five million,” the representative is reported to have said.\u003c/p>\n\u003cp>The CBC has also made public a \u003ca href=\"https://www.documentcloud.org/documents/4901430-TMR-Professional-Reseller-Handbook-1-1.html\">document\u003c/a> which it says is Ticketmaster’s handbook for resellers. The handbook outlines a reward system for resellers. For example, the CBC writes, “As scalpers hit milestones such as $500,000 or $1 million in annual sales, Ticketmaster will knock a percentage point off its fees.”\u003c/p>\n\u003cfigure id=\"attachment_13841295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841295 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gettyimages-84749102-34fda82f91350120e44bd339ade6362ec392b837-e1537469703508.jpg\" alt=\"A 2009 Blockbuster sign advertising Live Nation's ticket sales, publicized shortly before the latter company's merger with Ticketmaste\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A 2009 Blockbuster sign advertising Live Nation’s ticket sales, publicized shortly before the latter company’s merger with Ticketmaste \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticketmaster is owned by Live Nation — the California-based company did not respond to NPR’s email for comment on the report.\u003c/p>\n\u003cp>The company declined to respond on the record to specific questions from the two Canadian media outlets, but offered a \u003ca href=\"https://www.documentcloud.org/documents/4891602-TICKETMASTER-S-STATEMENTS-to-CBC-NEWS-2FTORONTO.html\">statement\u003c/a> that reads, in part: “Ticketmaster is a technology platform that helps artists and teams connect with their fans. We do not own the tickets sold on our platform nor do we have any control over ticket pricing — either in the initial sale or the resale … As the world’s leading ticketing platform, representing thousands of teams, artists and venues, we believe it is our job to offer a marketplace that provides a safe and fair place for fans to shop, buy and sell tickets in both the primary and secondary markets.”\u003c/p>\n\u003cp>In a follow-up statement provided to NPR the morning of Sep. 20, Ticketmaster denies having a program that allows customers to buy large tranches of tickets, which was not at issue in the CBC/\u003cem>Star\u003c/em> report. The company continues by saying it does “not condone the statements made by the employee as the conduct described clearly violates our terms of service,” and that it will put “additional measures in place to proactively monitor for this type of inappropriate activity.”\u003c/p>\n\u003cp>Over the past decade, Live Nation has markedly changed course in its position on ticket resales. In 2009 — the year \u003ca href=\"https://www.nytimes.com/2010/04/25/business/25ticket.html\">before\u003c/a> Live Nation merged with Ticketmaster — Live Nation’s then-CEO, Irving Azoff, \u003ca href=\"https://www.theguardian.com/music/2009/feb/26/ticketmaster-secondary-market\">told\u003c/a> the Senate judiciary antitrust subcommittee that he believed “scalping and resale should be illegal.”\u003c/p>\n\u003cp>But in the\u003ca href=\"https://www.cbc.ca/news/business/ticketmaster-prices-scalpers-bruno-mars-1.4826914\"> first part\u003c/a> of the CBC/\u003cem>Toronto Star\u003c/em> investigation, published Tuesday, the journalists asserted that resold tickets are “particularly lucrative” for Ticketmaster, because the company reportedly profits from two separate sets of charges collected from the same ticket. “For example,” they write, “if Ticketmaster collects $25.75 on a $209.50 ticket on the initial sale, when the owner posts it for resale for $400 on the site, the company stands to collect an additional $76 on the same ticket.”\u003c/p>\n\u003cp>The Canadian report compounds some pressure on both Live Nation and Ticketmaster. According to reporting earlier this year \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">from \u003cem>The New York Times\u003c/em>\u003c/a>, the Justice Department is in the process of reviewing complaints that the concert giant “has used its control over concert tours to pressure venues into contracting with its subsidiary, Ticketmaster.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://insider.ticketmaster.com/ticketing-vertical-integration-and-the-nyts-recent-article/\">a blog post\u003c/a> responding to the \u003cem>Times\u003c/em>‘ allegations, Ticketmaster president Jared Smith wrote that the company’s success “is not the result of any unfair advantages resulting from being a part of Live Nation Entertainment,” but a result of its parent company’s investments into its products, alluding to the complaints as having been filed by AEG, its chief competition. “I would much rather talk about the things we are doing to ensure that consumers get fair access to tickets,” Smith continued, “but I guess none of that sells newspapers.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ticketmaster+Has+Its+Own+Secret+%27Scalping+Program%2C%27+Canadian+Journalists+Report&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The CBC and the Toronto Star has reported that live-event box office behemoth Ticketmaster recruits professional \"scalpers\" into a program through which it could benefit by double-dipping on fees.",
"status": "publish",
"parent": 0,
"modified": 1726704860,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 903
},
"headData": {
"title": "Ticketmaster Has Its Own Secret 'Scalping Program,' Canadian Journalists Report | KQED",
"description": "The CBC and the Toronto Star has reported that live-event box office behemoth Ticketmaster recruits professional "scalpers" into a program through which it could benefit by double-dipping on fees.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ticketmaster Has Its Own Secret 'Scalping Program,' Canadian Journalists Report",
"datePublished": "2018-09-20T12:30:10-07:00",
"dateModified": "2024-09-18T17:14:20-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Jamie Squire",
"nprByline": "Anastasia Tsioulcas",
"nprImageAgency": "Getty Images",
"nprStoryId": "649666928",
"nprApiLink": "http://api.npr.org/query?id=649666928&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2018/09/20/649666928/ticketmaster-has-its-own-secret-scalping-program-canadian-journalists-report?ft=nprml&f=649666928",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 20 Sep 2018 11:58:00 -0400",
"nprStoryDate": "Thu, 20 Sep 2018 07:34:00 -0400",
"nprLastModifiedDate": "Thu, 20 Sep 2018 11:58:42 -0400",
"path": "/arts/13841293/ticketmaster-has-its-own-secret-scalping-program-canadian-journalists-report",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Updated 11:35 a.m. Sep. 20 \u003c/strong>with portions of a statement from Ticketmaster in response to the CBC and \u003c/em>Toronto Star\u003cem>‘s reporting.\u003c/em>\u003c/p>\n\u003cp>A team of Canadian journalists — from the Canadian Broadcasting Corporation (CBC), a public radio and television broadcaster, and the \u003cem>Toronto Star\u003c/em> newspaper — \u003ca href=\"https://www.cbc.ca/news/business/a-public-relations-nightmare-ticketmaster-recruits-pros-for-secret-scalper-program-1.4828535\">reported\u003c/a> on Wednesday that Ticketmaster, the live-event box office behemoth, has developed a secret tool called \u003ca href=\"https://tradedesk.ticketmaster.com/\">TradeDesk\u003c/a> that assists professional “scalpers” to resell tickets in ways that would seem to violate Ticketmaster’s own rules — and from which Ticketmaster would ostensibly benefit.\u003c/p>\n\u003cp>Two of the journalists went undercover with hidden cameras and posed as professional resellers to attend Ticket Summit 2018, a trade convention held in July at Caesars Palace in Las Vegas. A CBC journalist also obtained access to an online video conference demonstration of the TradeDesk platform back in March.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In footage obtained by the journalists, a man purported to be a TradeDesk sales representative told them that the resellers he works with have “literally a couple of hundred” Ticketmaster.com accounts apiece — a violation of Ticketmaster’s own terms of use — through which they can buy huge swaths of tickets for resale, and that Ticketmaster’s “buyer abuse” division does not investigate at least some TradeDesk users.\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>During the March video presentation, the CBC reports, a Ticketmaster employee said that 100 resellers across North America were using TradeDesk to each sell somewhere between a few thousand and several million tickets per year — “I think our biggest broker right now has probably grabbed around five million,” the representative is reported to have said.\u003c/p>\n\u003cp>The CBC has also made public a \u003ca href=\"https://www.documentcloud.org/documents/4901430-TMR-Professional-Reseller-Handbook-1-1.html\">document\u003c/a> which it says is Ticketmaster’s handbook for resellers. The handbook outlines a reward system for resellers. For example, the CBC writes, “As scalpers hit milestones such as $500,000 or $1 million in annual sales, Ticketmaster will knock a percentage point off its fees.”\u003c/p>\n\u003cfigure id=\"attachment_13841295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13841295 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gettyimages-84749102-34fda82f91350120e44bd339ade6362ec392b837-e1537469703508.jpg\" alt=\"A 2009 Blockbuster sign advertising Live Nation's ticket sales, publicized shortly before the latter company's merger with Ticketmaste\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A 2009 Blockbuster sign advertising Live Nation’s ticket sales, publicized shortly before the latter company’s merger with Ticketmaste \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ticketmaster is owned by Live Nation — the California-based company did not respond to NPR’s email for comment on the report.\u003c/p>\n\u003cp>The company declined to respond on the record to specific questions from the two Canadian media outlets, but offered a \u003ca href=\"https://www.documentcloud.org/documents/4891602-TICKETMASTER-S-STATEMENTS-to-CBC-NEWS-2FTORONTO.html\">statement\u003c/a> that reads, in part: “Ticketmaster is a technology platform that helps artists and teams connect with their fans. We do not own the tickets sold on our platform nor do we have any control over ticket pricing — either in the initial sale or the resale … As the world’s leading ticketing platform, representing thousands of teams, artists and venues, we believe it is our job to offer a marketplace that provides a safe and fair place for fans to shop, buy and sell tickets in both the primary and secondary markets.”\u003c/p>\n\u003cp>In a follow-up statement provided to NPR the morning of Sep. 20, Ticketmaster denies having a program that allows customers to buy large tranches of tickets, which was not at issue in the CBC/\u003cem>Star\u003c/em> report. The company continues by saying it does “not condone the statements made by the employee as the conduct described clearly violates our terms of service,” and that it will put “additional measures in place to proactively monitor for this type of inappropriate activity.”\u003c/p>\n\u003cp>Over the past decade, Live Nation has markedly changed course in its position on ticket resales. In 2009 — the year \u003ca href=\"https://www.nytimes.com/2010/04/25/business/25ticket.html\">before\u003c/a> Live Nation merged with Ticketmaster — Live Nation’s then-CEO, Irving Azoff, \u003ca href=\"https://www.theguardian.com/music/2009/feb/26/ticketmaster-secondary-market\">told\u003c/a> the Senate judiciary antitrust subcommittee that he believed “scalping and resale should be illegal.”\u003c/p>\n\u003cp>But in the\u003ca href=\"https://www.cbc.ca/news/business/ticketmaster-prices-scalpers-bruno-mars-1.4826914\"> first part\u003c/a> of the CBC/\u003cem>Toronto Star\u003c/em> investigation, published Tuesday, the journalists asserted that resold tickets are “particularly lucrative” for Ticketmaster, because the company reportedly profits from two separate sets of charges collected from the same ticket. “For example,” they write, “if Ticketmaster collects $25.75 on a $209.50 ticket on the initial sale, when the owner posts it for resale for $400 on the site, the company stands to collect an additional $76 on the same ticket.”\u003c/p>\n\u003cp>The Canadian report compounds some pressure on both Live Nation and Ticketmaster. According to reporting earlier this year \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">from \u003cem>The New York Times\u003c/em>\u003c/a>, the Justice Department is in the process of reviewing complaints that the concert giant “has used its control over concert tours to pressure venues into contracting with its subsidiary, Ticketmaster.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://insider.ticketmaster.com/ticketing-vertical-integration-and-the-nyts-recent-article/\">a blog post\u003c/a> responding to the \u003cem>Times\u003c/em>‘ allegations, Ticketmaster president Jared Smith wrote that the company’s success “is not the result of any unfair advantages resulting from being a part of Live Nation Entertainment,” but a result of its parent company’s investments into its products, alluding to the complaints as having been filed by AEG, its chief competition. “I would much rather talk about the things we are doing to ensure that consumers get fair access to tickets,” Smith continued, “but I guess none of that sells newspapers.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ticketmaster+Has+Its+Own+Secret+%27Scalping+Program%2C%27+Canadian+Journalists+Report&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13841293/ticketmaster-has-its-own-secret-scalping-program-canadian-journalists-report",
"authors": [
"byline_arts_13841293"
],
"categories": [
"arts_235"
],
"tags": [
"arts_3219",
"arts_596",
"arts_4802"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13841294",
"label": "arts_137"
},
"arts_13841205": {
"type": "posts",
"id": "arts_13841205",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13841205",
"score": null,
"sort": [
1537470039000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1537470039,
"format": "image",
"title": "What Happens When All the Curators Are Gone?",
"headTitle": "What Happens When All the Curators Are Gone? | KQED",
"content": "\u003cp>Two months before she lost her job, Katie Hood Morgan sat in a board meeting, watching her department’s budget get cut in half.\u003c/p>\n\u003cp>“It was a little weird to be sitting there,” she remembers of her final months as San Francisco Art Institute’s curator of exhibitions and public programs, “looking at the budget like, ‘There’s my line. And there’s last year, and there’s me somewhere floating away.’”\u003c/p>\n\u003cp>With that board vote, the 147-year-old art school fundamentally altered its exhibition program, removing the in-house curatorial staff responsible for filling not only its Walter & McBean Galleries, but the new Fort Mason campus’ gallery space, which opened in August 2017. Morgan was also responsible for overseeing student exhibitions in the Diego Rivera Gallery and organizing SFAI’s well-respected visiting artist lecture series.\u003c/p>\n\u003cfigure id=\"attachment_13841228\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg\" alt=\"An exhibition opening on SFAI's Fort Mason campus.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An exhibition opening on SFAI’s Fort Mason campus. \u003ccite>(Marco David)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the relatively small Bay Area arts scene, Morgan’s layoff followed the April 24 dismissal of Joel Shepard, Yerba Buena Center for the Arts’ curator of film and video (and the beginning of the film program’s “hiatus”), and preceded the Aug. 1 elimination of Kara Q. Smith’s assistant curator position at the di Rosa Center for Contemporary Art.\u003c/p>\n\u003cp>These three positions, the people who held them and the institutions that eliminated them are vastly different. Yet all three are curatorial positions; local job openings in the field are already few and far between. And each year, newly minted graduates from California College of the Arts’ \u003ca href=\"https://www.cca.edu/academics/graduate/curatorial-practice\" target=\"_blank\" rel=\"noopener\">curatorial practice program\u003c/a>, and SFAI’s \u003ca href=\"https://www.sfai.edu/degree-programs/graduate/ma/exhibition-and-museum-studies-ma\" target=\"_blank\" rel=\"noopener\">exhibitions and museum studies program\u003c/a> enter the market, while the full-time long-term positions they might once have aspired to disappear one by one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The quiet elimination of curatorial jobs is a troubling manifestation of a Bay Area arts ecosystem that struggles to find stability despite a booming local economy. Institutions “restructure,” “return to their core missions” and “redefine their priorities” in attempts to both clarify their role within a competitive field of development dollars and audience attention and pare down budgets.\u003c/p>\n\u003cfigure id=\"attachment_13841262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg\" alt=\"Katie Hood Morgan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katie Hood Morgan. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But with each dismissal, years of institutional knowledge, community relationships and public goodwill are lost. Most importantly, the cutting of curatorial positions is a loss for the audience.\u003c/p>\n\u003cp>“A curator lobbies on the behalf [of artists] and makes cases not only to the institution, but to the public on why something matters,” says CCA’s curatorial practice program chair, James Voorhies. “They’re a mediator. They might take very complex ideas that an artist or a filmmaker is working with and they bring those ideas into the public realm responsibly so that audiences understand why a work is relevant in a contemporary context.”\u003c/p>\n\u003cfigure id=\"attachment_13841229\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg\" alt=\"Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA's new Curatorial Research Bureau at Yerba Buena Center for the Arts.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA’s new Curatorial Research Bureau at Yerba Buena Center for the Arts. \u003ccite>(Courtesy of Curatorial Research Bureau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Constantly Refreshed’ Curatorial Thinking at SFAI\u003c/h2>\n\u003cp>Gordon Knox, president of SFAI, explains changes to the exhibition program as a return to the school’s core mission: teaching and learning. “We are absolutely a school,” he says. “We are embracing our exhibitions program in a way that’s deeply integrated into our curriculum and pedagogy.”\u003c/p>\n\u003cp>Knox envisions a future in which SFAI will rely on visiting artists and curators to teach classes that result in exhibitions, public programs and publications. Students will get hands-on experience mounting an exhibition from start to finish, he says, including possibly working on research and grant applications.\u003c/p>\n\u003cp>Of the Bay Area’s many art schools, SFAI has perhaps the scrappiest legacy, having weathered multiple instances of financial instability over its long history. But this is the first time, to Morgan’s knowledge, that those financial straits have resulted in such severe cuts to the exhibition program.\u003c/p>\n\u003cfigure id=\"attachment_13841224\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg\" alt=\"Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown's Ethereum investment during the 'Ether' opening, Sept. 13, 2018.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown’s Ethereum investment during the ‘Ether’ opening, Sept. 13, 2018. \u003ccite>(Lucas Terranova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coincidentally, the last show Morgan worked on for SFAI is both an indictment of the school’s cuts to the exhibition program and a cynical look to technology for arts funding answers. \u003ci>\u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/will-brown-ether\" target=\"_blank\" rel=\"noopener\">Ether\u003c/a>\u003c/i>, which opened Sept. 13, is a conceptual cryptocurrency investment scheme by the collaborative trio known as \u003ca href=\"http://www.wearewillbrown.com/\" target=\"_blank\" rel=\"noopener\">Will Brown\u003c/a> (David Kasprzak, Jordan Stein and Lindsey White).\u003c/p>\n\u003cp>The exhibition draws comparisons between SFAI’s current financial challenges (Knox named enrollment as a factor) with a moment in history when the school sold its collection of Eadweard Muybridge photographs to finance the creation of what is now the school’s New Genres department.\u003c/p>\n\u003cp>“In a similarly speculative action,” the collaborative’s press announcement reads, “Will Brown has invested our exhibition budget in Ether, the underlying token powering the Ethereum blockchain.” At irregular intervals, any profits from this investment will be available to fund SFAI student, staff or faculty projects, supplementing the school’s official budget via an application process open to all.\u003c/p>\n\u003cfigure id=\"attachment_13841231\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg\" alt=\"SFAI's North Beach campus courtyard.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">SFAI’s North Beach campus courtyard. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the opening date drew near, Morgan remained involved as a contract employee, even though her last day on staff after five years at SFAI was July 5. Up to then, she’d been attending cabinet meetings for nearly a year, where she represented the exhibition program and advocated for it as best she could without any actual executive power. It was in these meetings that she was first confronted with pressure to justify her department’s existence.\u003c/p>\n\u003cp>“I gave them examples of exhibitions that got a lot of great press for the school, and I gave them examples on the other side, of students who had worked in the galleries and told us it was the biggest educational experience they had at the school, alongside their practice,” Morgan says. “But of course that’s anecdotal. How do you quantify that kind of story, and that kind of experience and that impact?”\u003c/p>\n\u003cp>“It made me feel really uncomfortable, honestly,” she says of being the lone advocate for the exhibition department. “I don’t see it as my role to fight that fight within my own institution. It’s hard enough considering the political moment and attitude towards the arts and intellectualism in general, but to have to do that within the institution just felt terrible.”\u003c/p>\n\u003cp>[contextly_sidebar id=”1VqRTdOK9TxLY8gluVQGiZVaOgTScoiQ”]\u003c/p>\n\u003cp>During Morgan’s time at SFAI, the exhibition program organized numerous projects that seemed to directly fit the description of Knox’s plans for the future: world class artists doing high-end serious projects and multiplying their capacity through student participation.\u003c/p>\n\u003cp>Knox admits this is true: “The elimination of a steady curatorial stand-alone department is really a reflection of something that that department was already doing, which was trying very much to involve itself with the school.” In other words, the exhibition department’s good work proved there was no need for an exhibition department.\u003c/p>\n\u003cp>To hear Knox tell it, these cuts actually mean opportunities for more curators to work at the school. “I think that what I’d really like to do is have SFAI be a location where curatorial thinking is constantly refreshed, constantly coming in, constantly being applied in the actual social world of education,” Knox says. He’s thinking in terms of one- or two-year-long positions, “a wonderful springboard for young curators” to “work with this dynamic terrain.”\u003c/p>\n\u003cp>What won’t return to SFAI, Knox says, is the role of a long-term senior curator position.\u003c/p>\n\u003cfigure id=\"attachment_13841236\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841236\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg\" alt=\"Yerba Buena Center for the Arts viewed from Mission Street.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts viewed from Mission Street. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Reimagining’ a Film Program at YBCA\u003c/h2>\n\u003cp>Unlike Morgan, Joel Shepard didn’t see it coming.\u003c/p>\n\u003cp>YBCA hired Shepard in 1997 to start the then-four-year-old institution’s film and video program. “It was a big thing,” he remembers. “You’re really lucky to be able to start something from scratch and not have much of a legacy to deal with.”\u003c/p>\n\u003cp>Over the next two decades, Shepard organized a regular schedule of about 150 film screenings a year, created partnerships with former and existing Bay Area organizations (Film Arts Foundation, Cine Accion, CAAM before it was CAAM), launched the New Filipino Cinema film festival, received the \u003ca href=\"http://sffcc.org/2014/12/2014-san-francisco-film-critics-circle-awards/\" target=\"_blank\" rel=\"noopener\">Marlon Riggs Award\u003c/a> from the San Francisco Film Critics Circle and was named one of SFFILM’s “\u003ca href=\"https://www.sffilm.org/press/releases/112116-essential-sf-2016\" target=\"_blank\" rel=\"noopener\">Essential SF\u003c/a>.”\u003c/p>\n\u003cp>Though YBCA announced there would be restructuring several months prior, hinting at some level of staff reduction, Shepard never expected both he and his part-time curatorial assistant David Robson to be laid off. Or for the film program to fundamentally change.\u003c/p>\n\u003cfigure id=\"attachment_13841234\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841234\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg\" alt=\"Former YBCA film/video curator Joel Shepard.\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Former YBCA film/video curator Joel Shepard.\u003c/figcaption>\u003c/figure>\n\u003cp>On April 26, YBCA sent an email to film patrons and select members of the press stating, “We have made the decision to reimagine YBCA’s film program, so that it is more fully integrated into our public engagement efforts and working in service of YBCA’s mission. As a result we will be putting our film program \u003ca href=\"https://www.ybca.org/whats-on?page=1&category=Film&when=days30&view=event&start=&end=\" target=\"_blank\" rel=\"noopener\">on hiatus\u003c/a> while we work to achieve these goals.”\u003c/p>\n\u003cp>For Deborah Cullinan, YBCA’s CEO, the hiatus and reimagining process is an opportunity to better support the local arts ecosystem, break down silos within the 25-year-old organization, bring film and video out of the center’s 92-seat theater and “make it bigger.”\u003c/p>\n\u003cfigure id=\"attachment_13841237\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg\" alt=\"YBCA CEO Deborah Cullinan during the opening of 'Bay Area Now 9,' Sept. 7, 2018. \" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">YBCA CEO Deborah Cullinan during the opening of ‘Bay Area Now 9,’ Sept. 7, 2018. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Brittney Valdez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are really trying to pioneer a new model for a contemporary arts center, and it requires that we have to question all of it,” she says. But YBCA only appears to be questioning some of it; since Shepard and Robson’s departure on April 24, other curatorial staff members have not been laid off and other programs, like visual arts and performance, remain intact. The film and video curatorial position might return, Cullinan says, but she’s also open to ideas that could support local filmmakers or integrate film and video into institution-wide programs.\u003c/p>\n\u003cp>It’s hard to know what the future will look like for film and video at YBCA, or even when this hiatus will conclude. (Cullinan wishes the “reimagining” was moving faster.) The last film program on YBCA’s calendar was the June 9–July 1 \u003ca href=\"https://ybca.org/whats-on/2018-architecture-and-design-films?utm_source=sf-station&utm_medium=REFERRAL&utm_campaign=2018-architecture-and-design-films&utm_content=CALENDAR-LISTING\" target=\"_blank\" rel=\"noopener\">Architecture & Design Films Showcase\u003c/a>, co-presented by AIGA and SF Design Week.\u003c/p>\n\u003cp>Of the various possible futures that Cullinan describes, some seem to involve leaving film and video programming up to the remaining curatorial staff. (Cullinan claims it’s increasingly difficult to recruit full-time staff, “In part because of the affordability issues we have in the Bay, but it’s also because people want to live their lives differently, and they are actually interested in having multiple gigs.”) Some sound like partnerships with local film organizations and festivals. And others are too nebulous to speculate upon.\u003c/p>\n\u003cp>What’s missing, in the interim, is a venue that long showcased a rare mix of global and local cinema. “There’s already fewer and fewer foreign language films showing in San Francisco,” Shepard says. “The number drops every year.” Films that don’t have a readymade audience or pre-existing buzz don’t show in San Francisco anymore, he says. YBCA was the city’s only arts institution with a regular film program. He points to the Pacific Film Archive’s schedule at the Berkeley Art Museum as a rare example of a visual arts institution and film program existing, seemingly successfully, side-by-side.\u003c/p>\n\u003cp>And it’s not a vacuum that can be filled by the \u003ca href=\"https://www.kqed.org/arts/13836539/the-eradication-of-memory-on-netflix-amazon-and-other-streaming-video-sites\" target=\"_blank\" rel=\"noopener\">options of streaming movies\u003c/a>, either. Curatorial guidance, by a trained and informed film historian, enriches the viewing experience and exposes audiences to material they wouldn’t necessarily choose for themselves. “My whole career is based on \u003ci>not\u003c/i> doing that,” Shepard says. “It’s going to the unfamiliar, going to places you don’t know about that might be uncomfortable at first. It’s kind of the opposite of Netflix.”\u003c/p>\n\u003cp>“There’s a million things on there and everything has exactly the same weight. It’s just pages after pages of little rectangles.”\u003c/p>\n\u003cfigure id=\"attachment_13841238\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841238\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/AmyKara.jpg\" alt=\"di Rosa curator Amy Owen and former assistant curator Kara Q. Smith.\" width=\"900\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-520x347.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">di Rosa curator Amy Owen and former assistant curator Kara Q. Smith. \u003ccite>(Courtesy Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Shifting Institutional Priorities’ at di Rosa\u003c/h2>\n\u003cp>While the changes at YBCA were at least nominally announced, the elimination of Kara Q. Smith’s assistant curator position at Napa’s di Rosa Center for Contemporary Art took place quietly, without public remark. An email did go out to artists Smith had been working with for a 2019 show letting them know that due to her “unfortunate departure,” the di Rosa would “not be moving forward with the show as originally planned.”\u003c/p>\n\u003cp>Smith was the second full-time curator hired at di Rosa (Amy Owen, the organization’s lead curator, was the first). Smith says her role was unique; she worked interdepartmentally across the organization on multiple collaborative initiatives. Some of the many projects she took on included co-organizing and launching di Rosa’s yearlong artist-centered initiative \u003ci>\u003ca href=\"https://www.kqed.org/arts/13823502/di-rosa-hands-programming-over-to-artists-in-uncertain-times\" target=\"_blank\" rel=\"noopener\">Be Not Still: Living in Uncertain Times\u003c/a>\u003c/i> and appearing on behalf of the organization at city council meetings and local community events.\u003c/p>\n\u003cp>“I \u003ci>left\u003c/i> San Francisco. I made Napa my home,” she says. It was a major commitment for someone whose life and community previously centered on San Francisco. During her nearly four-year tenure at di Rosa, Smith says she worked hard to build a relationship between the arts center and an often ambivalent local population.\u003c/p>\n\u003cp>When asked about the reasoning behind the position’s elimination, di Rosa offered up a statement so short it’s easily reproduced in full: “As di Rosa completes its transition from a private collection to a public facing institution, shifting institutional priorities have prompted strategic restructuring to better serve the organization’s evolving needs.”\u003c/p>\n\u003cp>A di Rosa spokesperson confirmed no other positions have been eliminated since; they have actually grown the staff “in other critical areas.”\u003c/p>\n\u003cp>For Smith, the post-di Rosa job search has been as depressing as di Rosa’s official statement is ambiguous. She’ll likely have to leave the Bay Area to find a similar curatorial position; she’s casting a wide net with limited expectations.\u003c/p>\n\u003cp>“I’m not even looking for a 20-year position per se, but where do I find the stability?” she asks.\u003c/p>\n\u003cfigure id=\"attachment_13841240\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg\" alt=\"Kara Q. Smith leading a tour on the di Rosa grounds.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-520x390.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Kara Q. Smith leading a tour on the di Rosa grounds. \u003ccite>(Courtesy of Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What Gets Lost\u003c/h2>\n\u003cp>In Renny Pritikin’s oft-cited “\u003ca href=\"https://s3-us-west-2.amazonaws.com/sfmomaopenspace/wp-content/uploads/2010/06/pritikin-prescription-for-a-healthy-art-scene2-600x746.gif\" target=\"_blank\" rel=\"noopener\">Prescription for a Healthy Art Scene\u003c/a>,” committed curators are one of nearly two dozen factors that must be present to create a thriving arts ecosystem. The institutions discussed here occupy other, equally important roles (point 3: “active art schools”; point 12: “accessible museums”).\u003c/p>\n\u003cp>Pritikin’s healthy art scene also requires an engaged viewership (point 13)—interested audiences who will attend exhibitions, performances and screenings, and read the writing that’s produced about those events. When YBCA announced Shepard’s dismissal and the film and video program’s hiatus, they listed an email address for the public to respond with feedback.\u003c/p>\n\u003cp>“There was not an overwhelming response,” Cullinan says. “The questions and concerns either had to do specifically with Joel and his undeniable value, or just with YBCA’s commitment to film.”\u003c/p>\n\u003cp>But Shepard heard from hundreds of people—on Facebook and via private messages—expressing their goodwill and anger, demonstrating to him he’d reached an audience (and accomplished what he’d been trying to do in his programming).\u003c/p>\n\u003cp>And there’s the rub. Internal decisions at arts organizations will never be completely transparent, but participating—voicing enjoyment or displeasure in response to an organization’s public programming—is a right that should be employed constantly, not just in reaction to a major change. And to be effective, those messages should be relayed not within closed networks, like a personal Facebook thread, but to the organizations themselves.\u003c/p>\n\u003cp>Fundamentally, the arts ecosystem is a litmus test for the health of the region as a whole, and if audiences aren’t more vocal in their support for the arts and their desire for ambitious curatorial programming, the elimination of these positions could be a harbinger of things to come.\u003c/p>\n\u003cp>“You need a really thriving arts scene for a good city,” Shepard points out. “It’s not just about me or these individuals who have also lost their jobs, there’s a bigger problem here. I don’t think we want to turn into Dallas.”\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\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Correction: An earlier version of this article incorrectly stated that the 2018 Architecture & Design Films Showcase at YBCA was not curated in-house. Joel Shepard selected the films prior to his departure.\u003c/i> \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 3000,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 52
},
"modified": 1710870215,
"excerpt": "Recent eliminations of curatorial positions at SFAI, YBCA and di Rosa raise concern for the Bay Area arts scene.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Recent eliminations of curatorial positions at SFAI, YBCA and di Rosa raise concern for the Bay Area arts scene.",
"title": "What Happens When All the Curators Are Gone? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What Happens When All the Curators Are Gone?",
"datePublished": "2018-09-20T12:00:39-07:00",
"dateModified": "2024-03-19T10:43:35-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "curatorial-crisis-bay-area-art-institutions",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13841205/curatorial-crisis-bay-area-art-institutions",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two months before she lost her job, Katie Hood Morgan sat in a board meeting, watching her department’s budget get cut in half.\u003c/p>\n\u003cp>“It was a little weird to be sitting there,” she remembers of her final months as San Francisco Art Institute’s curator of exhibitions and public programs, “looking at the budget like, ‘There’s my line. And there’s last year, and there’s me somewhere floating away.’”\u003c/p>\n\u003cp>With that board vote, the 147-year-old art school fundamentally altered its exhibition program, removing the in-house curatorial staff responsible for filling not only its Walter & McBean Galleries, but the new Fort Mason campus’ gallery space, which opened in August 2017. Morgan was also responsible for overseeing student exhibitions in the Diego Rivera Gallery and organizing SFAI’s well-respected visiting artist lecture series.\u003c/p>\n\u003cfigure id=\"attachment_13841228\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg\" alt=\"An exhibition opening on SFAI's Fort Mason campus.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/SFAIGallery_1600-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An exhibition opening on SFAI’s Fort Mason campus. \u003ccite>(Marco David)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the relatively small Bay Area arts scene, Morgan’s layoff followed the April 24 dismissal of Joel Shepard, Yerba Buena Center for the Arts’ curator of film and video (and the beginning of the film program’s “hiatus”), and preceded the Aug. 1 elimination of Kara Q. Smith’s assistant curator position at the di Rosa Center for Contemporary Art.\u003c/p>\n\u003cp>These three positions, the people who held them and the institutions that eliminated them are vastly different. Yet all three are curatorial positions; local job openings in the field are already few and far between. And each year, newly minted graduates from California College of the Arts’ \u003ca href=\"https://www.cca.edu/academics/graduate/curatorial-practice\" target=\"_blank\" rel=\"noopener\">curatorial practice program\u003c/a>, and SFAI’s \u003ca href=\"https://www.sfai.edu/degree-programs/graduate/ma/exhibition-and-museum-studies-ma\" target=\"_blank\" rel=\"noopener\">exhibitions and museum studies program\u003c/a> enter the market, while the full-time long-term positions they might once have aspired to disappear one by one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The quiet elimination of curatorial jobs is a troubling manifestation of a Bay Area arts ecosystem that struggles to find stability despite a booming local economy. Institutions “restructure,” “return to their core missions” and “redefine their priorities” in attempts to both clarify their role within a competitive field of development dollars and audience attention and pare down budgets.\u003c/p>\n\u003cfigure id=\"attachment_13841262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg\" alt=\"Katie Hood Morgan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Katie.inline-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katie Hood Morgan. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But with each dismissal, years of institutional knowledge, community relationships and public goodwill are lost. Most importantly, the cutting of curatorial positions is a loss for the audience.\u003c/p>\n\u003cp>“A curator lobbies on the behalf [of artists] and makes cases not only to the institution, but to the public on why something matters,” says CCA’s curatorial practice program chair, James Voorhies. “They’re a mediator. They might take very complex ideas that an artist or a filmmaker is working with and they bring those ideas into the public realm responsibly so that audiences understand why a work is relevant in a contemporary context.”\u003c/p>\n\u003cfigure id=\"attachment_13841229\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg\" alt=\"Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA's new Curatorial Research Bureau at Yerba Buena Center for the Arts.\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/CRBatYBCA_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Curatorial practice students with artist Shahryar Nashat on Sept. 11, 2018 in CCA’s new Curatorial Research Bureau at Yerba Buena Center for the Arts. \u003ccite>(Courtesy of Curatorial Research Bureau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Constantly Refreshed’ Curatorial Thinking at SFAI\u003c/h2>\n\u003cp>Gordon Knox, president of SFAI, explains changes to the exhibition program as a return to the school’s core mission: teaching and learning. “We are absolutely a school,” he says. “We are embracing our exhibitions program in a way that’s deeply integrated into our curriculum and pedagogy.”\u003c/p>\n\u003cp>Knox envisions a future in which SFAI will rely on visiting artists and curators to teach classes that result in exhibitions, public programs and publications. Students will get hands-on experience mounting an exhibition from start to finish, he says, including possibly working on research and grant applications.\u003c/p>\n\u003cp>Of the Bay Area’s many art schools, SFAI has perhaps the scrappiest legacy, having weathered multiple instances of financial instability over its long history. But this is the first time, to Morgan’s knowledge, that those financial straits have resulted in such severe cuts to the exhibition program.\u003c/p>\n\u003cfigure id=\"attachment_13841224\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg\" alt=\"Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown's Ethereum investment during the 'Ether' opening, Sept. 13, 2018.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/WB_RECEPTION_1_Lucas_Terranova-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lights in the Walter and McBean Galleries fluctuate in response to trade data from Will Brown’s Ethereum investment during the ‘Ether’ opening, Sept. 13, 2018. \u003ccite>(Lucas Terranova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coincidentally, the last show Morgan worked on for SFAI is both an indictment of the school’s cuts to the exhibition program and a cynical look to technology for arts funding answers. \u003ci>\u003ca href=\"https://sfai.edu/exhibitions-public-events/detail/will-brown-ether\" target=\"_blank\" rel=\"noopener\">Ether\u003c/a>\u003c/i>, which opened Sept. 13, is a conceptual cryptocurrency investment scheme by the collaborative trio known as \u003ca href=\"http://www.wearewillbrown.com/\" target=\"_blank\" rel=\"noopener\">Will Brown\u003c/a> (David Kasprzak, Jordan Stein and Lindsey White).\u003c/p>\n\u003cp>The exhibition draws comparisons between SFAI’s current financial challenges (Knox named enrollment as a factor) with a moment in history when the school sold its collection of Eadweard Muybridge photographs to finance the creation of what is now the school’s New Genres department.\u003c/p>\n\u003cp>“In a similarly speculative action,” the collaborative’s press announcement reads, “Will Brown has invested our exhibition budget in Ether, the underlying token powering the Ethereum blockchain.” At irregular intervals, any profits from this investment will be available to fund SFAI student, staff or faculty projects, supplementing the school’s official budget via an application process open to all.\u003c/p>\n\u003cfigure id=\"attachment_13841231\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg\" alt=\"SFAI's North Beach campus courtyard.\" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Courtyard3-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">SFAI’s North Beach campus courtyard. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the opening date drew near, Morgan remained involved as a contract employee, even though her last day on staff after five years at SFAI was July 5. Up to then, she’d been attending cabinet meetings for nearly a year, where she represented the exhibition program and advocated for it as best she could without any actual executive power. It was in these meetings that she was first confronted with pressure to justify her department’s existence.\u003c/p>\n\u003cp>“I gave them examples of exhibitions that got a lot of great press for the school, and I gave them examples on the other side, of students who had worked in the galleries and told us it was the biggest educational experience they had at the school, alongside their practice,” Morgan says. “But of course that’s anecdotal. How do you quantify that kind of story, and that kind of experience and that impact?”\u003c/p>\n\u003cp>“It made me feel really uncomfortable, honestly,” she says of being the lone advocate for the exhibition department. “I don’t see it as my role to fight that fight within my own institution. It’s hard enough considering the political moment and attitude towards the arts and intellectualism in general, but to have to do that within the institution just felt terrible.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>During Morgan’s time at SFAI, the exhibition program organized numerous projects that seemed to directly fit the description of Knox’s plans for the future: world class artists doing high-end serious projects and multiplying their capacity through student participation.\u003c/p>\n\u003cp>Knox admits this is true: “The elimination of a steady curatorial stand-alone department is really a reflection of something that that department was already doing, which was trying very much to involve itself with the school.” In other words, the exhibition department’s good work proved there was no need for an exhibition department.\u003c/p>\n\u003cp>To hear Knox tell it, these cuts actually mean opportunities for more curators to work at the school. “I think that what I’d really like to do is have SFAI be a location where curatorial thinking is constantly refreshed, constantly coming in, constantly being applied in the actual social world of education,” Knox says. He’s thinking in terms of one- or two-year-long positions, “a wonderful springboard for young curators” to “work with this dynamic terrain.”\u003c/p>\n\u003cp>What won’t return to SFAI, Knox says, is the role of a long-term senior curator position.\u003c/p>\n\u003cfigure id=\"attachment_13841236\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841236\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg\" alt=\"Yerba Buena Center for the Arts viewed from Mission Street.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/YBCA-Exterior_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts viewed from Mission Street. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Reimagining’ a Film Program at YBCA\u003c/h2>\n\u003cp>Unlike Morgan, Joel Shepard didn’t see it coming.\u003c/p>\n\u003cp>YBCA hired Shepard in 1997 to start the then-four-year-old institution’s film and video program. “It was a big thing,” he remembers. “You’re really lucky to be able to start something from scratch and not have much of a legacy to deal with.”\u003c/p>\n\u003cp>Over the next two decades, Shepard organized a regular schedule of about 150 film screenings a year, created partnerships with former and existing Bay Area organizations (Film Arts Foundation, Cine Accion, CAAM before it was CAAM), launched the New Filipino Cinema film festival, received the \u003ca href=\"http://sffcc.org/2014/12/2014-san-francisco-film-critics-circle-awards/\" target=\"_blank\" rel=\"noopener\">Marlon Riggs Award\u003c/a> from the San Francisco Film Critics Circle and was named one of SFFILM’s “\u003ca href=\"https://www.sffilm.org/press/releases/112116-essential-sf-2016\" target=\"_blank\" rel=\"noopener\">Essential SF\u003c/a>.”\u003c/p>\n\u003cp>Though YBCA announced there would be restructuring several months prior, hinting at some level of staff reduction, Shepard never expected both he and his part-time curatorial assistant David Robson to be laid off. Or for the film program to fundamentally change.\u003c/p>\n\u003cfigure id=\"attachment_13841234\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841234\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg\" alt=\"Former YBCA film/video curator Joel Shepard.\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Joel-Shepard_2-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Former YBCA film/video curator Joel Shepard.\u003c/figcaption>\u003c/figure>\n\u003cp>On April 26, YBCA sent an email to film patrons and select members of the press stating, “We have made the decision to reimagine YBCA’s film program, so that it is more fully integrated into our public engagement efforts and working in service of YBCA’s mission. As a result we will be putting our film program \u003ca href=\"https://www.ybca.org/whats-on?page=1&category=Film&when=days30&view=event&start=&end=\" target=\"_blank\" rel=\"noopener\">on hiatus\u003c/a> while we work to achieve these goals.”\u003c/p>\n\u003cp>For Deborah Cullinan, YBCA’s CEO, the hiatus and reimagining process is an opportunity to better support the local arts ecosystem, break down silos within the 25-year-old organization, bring film and video out of the center’s 92-seat theater and “make it bigger.”\u003c/p>\n\u003cfigure id=\"attachment_13841237\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg\" alt=\"YBCA CEO Deborah Cullinan during the opening of 'Bay Area Now 9,' Sept. 7, 2018. \" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">YBCA CEO Deborah Cullinan during the opening of ‘Bay Area Now 9,’ Sept. 7, 2018. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Brittney Valdez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are really trying to pioneer a new model for a contemporary arts center, and it requires that we have to question all of it,” she says. But YBCA only appears to be questioning some of it; since Shepard and Robson’s departure on April 24, other curatorial staff members have not been laid off and other programs, like visual arts and performance, remain intact. The film and video curatorial position might return, Cullinan says, but she’s also open to ideas that could support local filmmakers or integrate film and video into institution-wide programs.\u003c/p>\n\u003cp>It’s hard to know what the future will look like for film and video at YBCA, or even when this hiatus will conclude. (Cullinan wishes the “reimagining” was moving faster.) The last film program on YBCA’s calendar was the June 9–July 1 \u003ca href=\"https://ybca.org/whats-on/2018-architecture-and-design-films?utm_source=sf-station&utm_medium=REFERRAL&utm_campaign=2018-architecture-and-design-films&utm_content=CALENDAR-LISTING\" target=\"_blank\" rel=\"noopener\">Architecture & Design Films Showcase\u003c/a>, co-presented by AIGA and SF Design Week.\u003c/p>\n\u003cp>Of the various possible futures that Cullinan describes, some seem to involve leaving film and video programming up to the remaining curatorial staff. (Cullinan claims it’s increasingly difficult to recruit full-time staff, “In part because of the affordability issues we have in the Bay, but it’s also because people want to live their lives differently, and they are actually interested in having multiple gigs.”) Some sound like partnerships with local film organizations and festivals. And others are too nebulous to speculate upon.\u003c/p>\n\u003cp>What’s missing, in the interim, is a venue that long showcased a rare mix of global and local cinema. “There’s already fewer and fewer foreign language films showing in San Francisco,” Shepard says. “The number drops every year.” Films that don’t have a readymade audience or pre-existing buzz don’t show in San Francisco anymore, he says. YBCA was the city’s only arts institution with a regular film program. He points to the Pacific Film Archive’s schedule at the Berkeley Art Museum as a rare example of a visual arts institution and film program existing, seemingly successfully, side-by-side.\u003c/p>\n\u003cp>And it’s not a vacuum that can be filled by the \u003ca href=\"https://www.kqed.org/arts/13836539/the-eradication-of-memory-on-netflix-amazon-and-other-streaming-video-sites\" target=\"_blank\" rel=\"noopener\">options of streaming movies\u003c/a>, either. Curatorial guidance, by a trained and informed film historian, enriches the viewing experience and exposes audiences to material they wouldn’t necessarily choose for themselves. “My whole career is based on \u003ci>not\u003c/i> doing that,” Shepard says. “It’s going to the unfamiliar, going to places you don’t know about that might be uncomfortable at first. It’s kind of the opposite of Netflix.”\u003c/p>\n\u003cp>“There’s a million things on there and everything has exactly the same weight. It’s just pages after pages of little rectangles.”\u003c/p>\n\u003cfigure id=\"attachment_13841238\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841238\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/AmyKara.jpg\" alt=\"di Rosa curator Amy Owen and former assistant curator Kara Q. Smith.\" width=\"900\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/AmyKara-520x347.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">di Rosa curator Amy Owen and former assistant curator Kara Q. Smith. \u003ccite>(Courtesy Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Shifting Institutional Priorities’ at di Rosa\u003c/h2>\n\u003cp>While the changes at YBCA were at least nominally announced, the elimination of Kara Q. Smith’s assistant curator position at Napa’s di Rosa Center for Contemporary Art took place quietly, without public remark. An email did go out to artists Smith had been working with for a 2019 show letting them know that due to her “unfortunate departure,” the di Rosa would “not be moving forward with the show as originally planned.”\u003c/p>\n\u003cp>Smith was the second full-time curator hired at di Rosa (Amy Owen, the organization’s lead curator, was the first). Smith says her role was unique; she worked interdepartmentally across the organization on multiple collaborative initiatives. Some of the many projects she took on included co-organizing and launching di Rosa’s yearlong artist-centered initiative \u003ci>\u003ca href=\"https://www.kqed.org/arts/13823502/di-rosa-hands-programming-over-to-artists-in-uncertain-times\" target=\"_blank\" rel=\"noopener\">Be Not Still: Living in Uncertain Times\u003c/a>\u003c/i> and appearing on behalf of the organization at city council meetings and local community events.\u003c/p>\n\u003cp>“I \u003ci>left\u003c/i> San Francisco. I made Napa my home,” she says. It was a major commitment for someone whose life and community previously centered on San Francisco. During her nearly four-year tenure at di Rosa, Smith says she worked hard to build a relationship between the arts center and an often ambivalent local population.\u003c/p>\n\u003cp>When asked about the reasoning behind the position’s elimination, di Rosa offered up a statement so short it’s easily reproduced in full: “As di Rosa completes its transition from a private collection to a public facing institution, shifting institutional priorities have prompted strategic restructuring to better serve the organization’s evolving needs.”\u003c/p>\n\u003cp>A di Rosa spokesperson confirmed no other positions have been eliminated since; they have actually grown the staff “in other critical areas.”\u003c/p>\n\u003cp>For Smith, the post-di Rosa job search has been as depressing as di Rosa’s official statement is ambiguous. She’ll likely have to leave the Bay Area to find a similar curatorial position; she’s casting a wide net with limited expectations.\u003c/p>\n\u003cp>“I’m not even looking for a 20-year position per se, but where do I find the stability?” she asks.\u003c/p>\n\u003cfigure id=\"attachment_13841240\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg\" alt=\"Kara Q. Smith leading a tour on the di Rosa grounds.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Kara_diRosa-520x390.jpg 520w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Kara Q. Smith leading a tour on the di Rosa grounds. \u003ccite>(Courtesy of Kara Q. Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What Gets Lost\u003c/h2>\n\u003cp>In Renny Pritikin’s oft-cited “\u003ca href=\"https://s3-us-west-2.amazonaws.com/sfmomaopenspace/wp-content/uploads/2010/06/pritikin-prescription-for-a-healthy-art-scene2-600x746.gif\" target=\"_blank\" rel=\"noopener\">Prescription for a Healthy Art Scene\u003c/a>,” committed curators are one of nearly two dozen factors that must be present to create a thriving arts ecosystem. The institutions discussed here occupy other, equally important roles (point 3: “active art schools”; point 12: “accessible museums”).\u003c/p>\n\u003cp>Pritikin’s healthy art scene also requires an engaged viewership (point 13)—interested audiences who will attend exhibitions, performances and screenings, and read the writing that’s produced about those events. When YBCA announced Shepard’s dismissal and the film and video program’s hiatus, they listed an email address for the public to respond with feedback.\u003c/p>\n\u003cp>“There was not an overwhelming response,” Cullinan says. “The questions and concerns either had to do specifically with Joel and his undeniable value, or just with YBCA’s commitment to film.”\u003c/p>\n\u003cp>But Shepard heard from hundreds of people—on Facebook and via private messages—expressing their goodwill and anger, demonstrating to him he’d reached an audience (and accomplished what he’d been trying to do in his programming).\u003c/p>\n\u003cp>And there’s the rub. Internal decisions at arts organizations will never be completely transparent, but participating—voicing enjoyment or displeasure in response to an organization’s public programming—is a right that should be employed constantly, not just in reaction to a major change. And to be effective, those messages should be relayed not within closed networks, like a personal Facebook thread, but to the organizations themselves.\u003c/p>\n\u003cp>Fundamentally, the arts ecosystem is a litmus test for the health of the region as a whole, and if audiences aren’t more vocal in their support for the arts and their desire for ambitious curatorial programming, the elimination of these positions could be a harbinger of things to come.\u003c/p>\n\u003cp>“You need a really thriving arts scene for a good city,” Shepard points out. “It’s not just about me or these individuals who have also lost their jobs, there’s a bigger problem here. I don’t think we want to turn into Dallas.”\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\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>\u003ci>Correction: An earlier version of this article incorrectly stated that the 2018 Architecture & Design Films Showcase at YBCA was not curated in-house. Joel Shepard selected the films prior to his departure.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13841205/curatorial-crisis-bay-area-art-institutions",
"authors": [
"61"
],
"categories": [
"arts_74",
"arts_235",
"arts_70"
],
"tags": [
"arts_2225",
"arts_1118",
"arts_5849",
"arts_596",
"arts_3992",
"arts_1040"
],
"featImg": "arts_13841263",
"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": 1464,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3720,
"relation": "eq"
},
"items": [
"arts_13842502",
"arts_13842257",
"arts_13842012",
"arts_13841902",
"arts_13841824",
"arts_13841880",
"arts_13841872",
"arts_13841687",
"arts_13841509",
"arts_13841413",
"arts_13841293",
"arts_13841205"
],
"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_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_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_9943": {
"type": "terms",
"id": "arts_9943",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9943",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9955,
"slug": "awards",
"isLoading": false,
"link": "/arts/tag/awards"
},
"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_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_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_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_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"arts_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_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_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_2757": {
"type": "terms",
"id": "arts_2757",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2757",
"found": true
},
"relationships": {},
"featImg": null,
"name": "North Bay Fires",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "North Bay Fires Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2769,
"slug": "north-bay-fires",
"isLoading": false,
"link": "/arts/tag/north-bay-fires"
},
"arts_1686": {
"type": "terms",
"id": "arts_1686",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1686",
"found": true
},
"relationships": {},
"featImg": null,
"name": "beyonce",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "beyonce Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1698,
"slug": "beyonce",
"isLoading": false,
"link": "/arts/tag/beyonce"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_3752": {
"type": "terms",
"id": "arts_3752",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3752",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Andy Warhol",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Andy Warhol Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3764,
"slug": "andy-warhol",
"isLoading": false,
"link": "/arts/tag/andy-warhol"
},
"arts_3935": {
"type": "terms",
"id": "arts_3935",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3935",
"found": true
},
"relationships": {},
"featImg": null,
"name": "cantor arts center",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "cantor arts center Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3947,
"slug": "cantor-arts-center",
"isLoading": false,
"link": "/arts/tag/cantor-arts-center"
},
"arts_1255": {
"type": "terms",
"id": "arts_1255",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1255",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1267,
"slug": "feature-ntv",
"isLoading": false,
"link": "/arts/tag/feature-ntv"
},
"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_5612": {
"type": "terms",
"id": "arts_5612",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5612",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop culture",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5624,
"slug": "pop-culture",
"isLoading": false,
"link": "/arts/tag/pop-culture"
},
"arts_4642": {
"type": "terms",
"id": "arts_4642",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4642",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Rachael Myrow",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Rachael Myrow Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4654,
"slug": "rachael-myrow",
"isLoading": false,
"link": "/arts/tag/rachael-myrow"
},
"arts_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_2309": {
"type": "terms",
"id": "arts_2309",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2309",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Stanford",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Stanford Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2321,
"slug": "stanford",
"isLoading": false,
"link": "/arts/tag/stanford"
},
"arts_5165": {
"type": "terms",
"id": "arts_5165",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5165",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SV Feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SV Feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5177,
"slug": "sv-feature",
"isLoading": false,
"link": "/arts/tag/sv-feature"
},
"arts_5164": {
"type": "terms",
"id": "arts_5164",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5164",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SVCulture",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SVCulture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5176,
"slug": "svculture",
"isLoading": false,
"link": "/arts/tag/svculture"
},
"arts_5426": {
"type": "terms",
"id": "arts_5426",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5426",
"found": true
},
"relationships": {},
"name": "1960s",
"slug": "1960s",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "1960s | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 5438,
"isLoading": false,
"link": "/arts/tag/1960s"
},
"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_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_2883": {
"type": "terms",
"id": "arts_2883",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2883",
"found": true
},
"relationships": {},
"featImg": null,
"name": "city arts and lectures",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "City Arts & Lectures is the Bay Area's premier forum for the arts, presenting live talks with today's leading artists, writers, thinkers, and performers.",
"title": "City Arts and Lectures Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2895,
"slug": "city-arts-and-lectures",
"isLoading": false,
"link": "/arts/tag/city-arts-and-lectures"
},
"arts_1072": {
"type": "terms",
"id": "arts_1072",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1072",
"found": true
},
"relationships": {},
"featImg": null,
"name": "theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1089,
"slug": "theater",
"isLoading": false,
"link": "/arts/tag/theater"
},
"arts_1935": {
"type": "terms",
"id": "arts_1935",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1935",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tech",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tech Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1947,
"slug": "tech",
"isLoading": false,
"link": "/arts/tag/tech"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_1201": {
"type": "terms",
"id": "arts_1201",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1201",
"found": true
},
"relationships": {},
"featImg": null,
"name": "film festivals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "film festivals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1213,
"slug": "film-festivals",
"isLoading": false,
"link": "/arts/tag/film-festivals"
},
"arts_5618": {
"type": "terms",
"id": "arts_5618",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5618",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SVfeature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SVfeature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5630,
"slug": "svfeature",
"isLoading": false,
"link": "/arts/tag/svfeature"
},
"arts_3219": {
"type": "terms",
"id": "arts_3219",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3219",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Live Nation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Live Nation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3231,
"slug": "live-nation",
"isLoading": false,
"link": "/arts/tag/live-nation"
},
"arts_4802": {
"type": "terms",
"id": "arts_4802",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4802",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ticketmaster",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ticketmaster Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4814,
"slug": "ticketmaster",
"isLoading": false,
"link": "/arts/tag/ticketmaster"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_2225": {
"type": "terms",
"id": "arts_2225",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2225",
"found": true
},
"relationships": {},
"featImg": null,
"name": "di Rosa",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "di Rosa Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2237,
"slug": "di-rosa",
"isLoading": false,
"link": "/arts/tag/di-rosa"
},
"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_3992": {
"type": "terms",
"id": "arts_3992",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3992",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SFAI",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SFAI Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4004,
"slug": "sfai",
"isLoading": false,
"link": "/arts/tag/sfai"
},
"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"
}
},
"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
}
}
