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_13838480": {
"type": "attachments",
"id": "arts_13838480",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13838480",
"found": true
},
"parent": 13838479,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/ap_18218422999977-002-_wide-316f2868764e9762b390ff23a72794ff5efa2806-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/ap_18218422999977-002-_wide-316f2868764e9762b390ff23a72794ff5efa2806-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/ap_18218422999977-002-_wide-316f2868764e9762b390ff23a72794ff5efa2806-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/ap_18218422999977-002-_wide-316f2868764e9762b390ff23a72794ff5efa2806-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/ap_18218422999977-002-_wide-316f2868764e9762b390ff23a72794ff5efa2806.jpg",
"width": 793,
"height": 446
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/ap_18218422999977-002-_wide-316f2868764e9762b390ff23a72794ff5efa2806-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/ap_18218422999977-002-_wide-316f2868764e9762b390ff23a72794ff5efa2806-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/ap_18218422999977-002-_wide-316f2868764e9762b390ff23a72794ff5efa2806-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/ap_18218422999977-002-_wide-316f2868764e9762b390ff23a72794ff5efa2806-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/ap_18218422999977-002-_wide-316f2868764e9762b390ff23a72794ff5efa2806-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/ap_18218422999977-002-_wide-316f2868764e9762b390ff23a72794ff5efa2806-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/ap_18218422999977-002-_wide-316f2868764e9762b390ff23a72794ff5efa2806-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/ap_18218422999977-002-_wide-316f2868764e9762b390ff23a72794ff5efa2806-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1533748682,
"modified": 1533748943,
"caption": "The purchase price of the home featured in opening and closing scenes of \u003cem>The Brady Bunch\u003c/em> was not immediately available, but it had been listed at $1.85 million.",
"description": "The purchase price of the home featured in opening and closing scenes of \u003cem>The Brady Bunch\u003c/em> was not immediately available, but it had been listed at $1.85 million.",
"title": "The purchase price of the home featured in opening and closing scenes of The Brady Bunch was not immediately available, but it had been listed at $1.85 million.",
"credit": "Anthony Barcelo/Ernie Carswell & Partners via AP, File",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13838445": {
"type": "attachments",
"id": "arts_13838445",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13838445",
"found": true
},
"parent": 13838421,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-520x325.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 325
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-160x100.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 100
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-960x600.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 600
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-375x234.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 234
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_.jpg",
"width": 1920,
"height": 1200
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-1020x638.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 638
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-1180x738.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 738
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-1200x750.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 750
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-800x500.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 500
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-1920x1200.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1200
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-1180x738.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 738
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-1920x1200.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1200
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-768x480.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 480
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/Shadetree.Kate_.MAIN_-240x150.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 150
}
},
"publishDate": 1533677067,
"modified": 1533677603,
"caption": "A resident of Shadetree reads on an outdoor couch. Shadetree residents recently bought their live-work artist complex amidst surrounding development in Oakland.",
"description": "A resident of Shadetree reads on an outdoor couch. Shadetree residents recently bought their live-work artist complex amidst surrounding development in Oakland.",
"title": "Shadetree.Kate.MAIN",
"credit": "Nathan Bennett",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13838234": {
"type": "attachments",
"id": "arts_13838234",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13838234",
"found": true
},
"parent": 13838218,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/nef-the-pharaoh-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1533257491,
"modified": 1533672120,
"caption": "Among hay bales and baby goats, the Bay Area rap star discusses leaving Vallejo, police brutality and his new album, 'The Big Chang Theory.'",
"description": "With his new album, 'The Big Chang Theory,' Nef the Pharaoh proves that he's a mover and shaker in the Bay Area rap scene.",
"title": "nef the pharaoh",
"credit": "Estefany Gonzalez",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13838228": {
"type": "attachments",
"id": "arts_13838228",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13838228",
"found": true
},
"parent": 13838207,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-520x347.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 347
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-1200x800.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 800
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/08/RS32187_Toyota-Prius-qut-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1533255981,
"modified": 1533256740,
"caption": "\"These beautiful cars have so much character,\" says photographer Scott Maddern. ",
"description": "\"These beautiful cars have so much character,\" says photographer Scott Maddern. ",
"title": "RS32187_Toyota Prius-qut",
"credit": "Photo: Courtesy of Scott Maddern",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13838091": {
"type": "attachments",
"id": "arts_13838091",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13838091",
"found": true
},
"parent": 13838086,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/Shenyang-Mall-2-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1533000970,
"modified": 1533074719,
"caption": "The Brothers Comatose perform at the Shenyang Mall.",
"description": "The Brothers Comatose perform at the Shenyang Mall.",
"title": "Shenyang Mall 2",
"credit": "Mickey Davis/American Music Abroad Program",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13838108": {
"type": "attachments",
"id": "arts_13838108",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13838108",
"found": true
},
"parent": 13838106,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/GettyImages-948841286-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1533067066,
"modified": 1533067141,
"caption": "Roy Orbison in Concert during The Hologram UK Tour at Eventim Apollo on April 19, 2018 in London, England. ",
"description": "Roy Orbison in Concert during The Hologram UK Tour at Eventim Apollo on April 19, 2018 in London, England. ",
"title": "'In Dreams'- Roy Orbison in Concert",
"credit": "Tabatha Fireman/Getty Images for BASE Holograms",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13838033": {
"type": "attachments",
"id": "arts_13838033",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13838033",
"found": true
},
"parent": 13838001,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fantasy-studios-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fantasy-studios-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fantasy-studios-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fantasy-studios-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fantasy-studios.jpg",
"width": 798,
"height": 449
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fantasy-studios-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fantasy-studios-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fantasy-studios-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fantasy-studios-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fantasy-studios-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fantasy-studios-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fantasy-studios-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fantasy-studios-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1532975250,
"modified": 1532975292,
"caption": "The world-renowned recording facility Fantasy Studios will close its doors on Sept. 15, 2018.",
"description": null,
"title": "fantasy studios",
"credit": "Wikimedia Commons",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13837871": {
"type": "attachments",
"id": "arts_13837871",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13837871",
"found": true
},
"parent": 13837870,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-e1532634950660.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-453734948_wide-a9272b6d137e3486188a99f0a77498dc407ee85f-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1532634782,
"modified": 1532634782,
"caption": null,
"description": "The exterior of the John F. Kennedy Center for the Performing Arts in Washington, D.C.",
"title": "The exterior of the John F. Kennedy Center for the Performing Arts in Washington, D.C.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11331581": {
"type": "attachments",
"id": "arts_11331581",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11331581",
"found": true
},
"parent": 11330280,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/BigMan.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/BigMan.MAIN_-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/BigMan.MAIN_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/BigMan.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/BigMan.MAIN_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/BigMan.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/BigMan.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/BigMan.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/BigMan.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/BigMan.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/BigMan.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/BigMan.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/BigMan.MAIN_-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/BigMan.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/BigMan.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1455611515,
"modified": 1532476337,
"caption": "Former Black Panther Elbert 'Big Man' Howard hosting 'Jazz Connections' on KRCB-FM in Rohnert Park in 2016.",
"description": "Former Black Panther Elbert 'Big Man' Howard hosting 'Jazz Connections' on KRCB-FM in Rohnert Park in 2016.",
"title": "BigMan.MAIN",
"credit": "Gabe Meline/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13837557": {
"type": "attachments",
"id": "arts_13837557",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13837557",
"found": true
},
"parent": 13837529,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/fleisher-with-student-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1532377182,
"modified": 1532377857,
"caption": "Leon Fleisher has been a faculty member of the Peabody Institute at Johns Hopkins University since 1959.",
"description": "Leon Fleisher has been a faculty member of the Peabody Institute at Johns Hopkins University since 1959.",
"title": "fleisher (with student)",
"credit": "Courtesy of Johns Hopkins University",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13837534": {
"type": "attachments",
"id": "arts_13837534",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13837534",
"found": true
},
"parent": 13837533,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-e1532368365575.jpg",
"width": 1920,
"height": 1081
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/gettyimages-3063609_wide-2f1369de541107083fa0d1cd73b7e62621fc3588-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1532368293,
"modified": 1532368354,
"caption": "David Bowie, photographed on March 3, 1965—two years after the future legend recorded a demo for Decca Records with The Konrad",
"description": null,
"title": "David Bowie, photographed on March 3, 1965 — two years after the future legend recorded a demo for Decca Records with The Konrads.",
"credit": " Potter/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13837405": {
"type": "attachments",
"id": "arts_13837405",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13837405",
"found": true
},
"parent": 13837387,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-520x347.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 347
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-1200x800.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 800
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/07/RS31959_Shakti_01-2-qut-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1532052620,
"modified": 1532052665,
"caption": "Urmila Vudali, who dances in both the Bharatanatyam and Western contemporary segments of Divine Feminine Shakti Shekinah put on by Sangam Arts, says, \"There are so many similarities [between the two forms], just by the way that we communicate rhythm and expression.\"",
"description": "Urmila Vudali, who dances in both the Bharatanatyam and Western contemporary segments of Divine Feminine Shakti Shekinah put on by Sangam Arts, says, \"There are so many similarities [between the two forms], just by the way that we communicate rhythm and expression.\"",
"title": "Urmila Vudali",
"credit": "Photo: Courtesy of Swagato Basumallick",
"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_13838479": {
"type": "authors",
"id": "byline_arts_13838479",
"meta": {
"override": true
},
"slug": "byline_arts_13838479",
"name": "Scott Neuman",
"isLoading": false
},
"byline_arts_13838086": {
"type": "authors",
"id": "byline_arts_13838086",
"meta": {
"override": true
},
"slug": "byline_arts_13838086",
"name": "Annie Bacon",
"isLoading": false
},
"byline_arts_13837870": {
"type": "authors",
"id": "byline_arts_13837870",
"meta": {
"override": true
},
"slug": "byline_arts_13837870",
"name": "Andrew Flanagan",
"isLoading": false
},
"byline_arts_13837691": {
"type": "authors",
"id": "byline_arts_13837691",
"meta": {
"override": true
},
"slug": "byline_arts_13837691",
"name": "Janie Har, Associated Press and Gabe Meline, KQED",
"isLoading": false
},
"byline_arts_13837529": {
"type": "authors",
"id": "byline_arts_13837529",
"meta": {
"override": true
},
"slug": "byline_arts_13837529",
"name": "Elijah Ho",
"isLoading": false
},
"byline_arts_13837533": {
"type": "authors",
"id": "byline_arts_13837533",
"meta": {
"override": true
},
"slug": "byline_arts_13837533",
"name": "Andrew Flanagan",
"isLoading": false
},
"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"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
}
},
"pagesReducer": {
"arts_category_news": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"score": 10.810845
},
"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": 127
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=news",
"seeMore": false,
"paginated": true,
"page": 127
}
},
{
"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_13838479": {
"type": "posts",
"id": "arts_13838479",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13838479",
"score": null,
"sort": [
1533749101000
]
},
"guestAuthors": [],
"slug": "brady-bunch-house-winner-revealed-hgtv-outbid-lance-bass",
"title": "'Brady Bunch' House Winner Revealed: HGTV Outbid Lance Bass",
"publishDate": 1533749101,
"format": "standard",
"headTitle": "‘Brady Bunch’ House Winner Revealed: HGTV Outbid Lance Bass | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>HGTV is the winning bidder for the Studio City, Calif., house featured in the sitcom \u003cem>The Brady Bunch\u003c/em>, with the cable network’s parent company promising to “restore the home to its 1970s glory.”\u003c/p>\n\u003cp>The CEO of Discovery Inc., which recently completed acquisition of HGTV, announced the news on a corporate earnings call.\u003c/p>\n\u003cp>“One of our projects for HGTV will speak to those Brady Bunch fans on the call,” David Zaslav said, according to \u003ca href=\"http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-brady-bunch-house-hgtv-20180807-story.html\">The Los Angeles Times.\u003c/a>\u003c/p>\n\u003cp>“You may have heard that the house from the iconic series was recently on the market in California. I’m excited to share that HGTV is the winning bidder and will restore the Brady Bunch home to its 1970s glory as only HGTV can,” he said. “More detail to come over the next few months, but we’ll bring all the resources to bear to tell safe, fun stories about this beloved piece of American TV history.”\u003c/p>\n\u003cp>The purchase price was not immediately available, but it had been listed at $1.85 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The home and garden network reportedly beat out a handful of other interested parties, including Lance Bass, the former ‘N Sync member. Bass announced excitedly on Twitter last week that he had the winning bid, only to be told later by an agent representing the estate that “another corporate buyer” wanted the house “at any cost.”\u003c/p>\n\u003cp>https://twitter.com/LanceBass/status/1025971593397166081\u003c/p>\n\u003cp>“While we appreciate Mr. Bass and his interest in the Dilling Street property, tremendous interest in the house required a sealed, best and final bid,” said a spokesman for Douglas Elliman, the agency selling the property, according to \u003ca href=\"https://www.marketwatch.com/story/lance-bass-lost-a-bidding-war-on-the-brady-bunch-househow-home-buyers-can-avoid-a-similar-fate-2018-08-07\">MarketWatch.\u003c/a> “Our fiduciary obligation is to the seller, who decided to go with the highest, most qualified bid. We wish Mr. Bass the best of luck in future real-estate endeavors.”\u003c/p>\n\u003cp>Douglas Elliman listing agent Ernie Carswell told the \u003cem>Times\u003c/em> on Saturday “that the sale to Bass was not a done deal and that the seller had not made a final decision at the time,” according to the newspaper.\u003c/p>\n\u003cp>After initially chaffing at the reversal, Bass seemed content in defeat, tweeting, “HGTV??! Aw man. I’d be pretty upset if it were anyone else, but how can you be mad at HGTV?? My television is stuck on that channel. Kudos HGTV, I know you will do the right thing with the house. That was always my biggest worry. I can smile again.”\u003c/p>\n\u003cp>As MarketWatch notes, “The chances of making a winning bid are lower when the buyer is competing against someone making an all-cash offer, as was the case for Bass.”\u003c/p>\n\u003cp>In July, the nearly 2,500-square foot house, which sits on a 12,500-square-foot lot, went on the market for the first time in 50 years. It previously sold in 1973 — a year before \u003cem>The Brady Bunch\u003c/em> series wrapped — for $61,000.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/2018/07/19/630482147/expect-a-bunch-of-attention-for-this-house-listing\">we wrote last month,\u003c/a> “Megafans may be disappointed to know that inside, the house looks very different from the sitcom set with its large open staircase. The show was filmed in a Los Angeles studio.”\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=%27Brady+Bunch%27+House+Winner+Revealed%3A+HGTV+Outbid+Lance+Bass&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The outside of the house was featured in the 1970s sitcom, but the interior scenes were filmed in a Los Angeles studio.",
"status": "publish",
"parent": 0,
"modified": 1726704928,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 558
},
"headData": {
"title": "'Brady Bunch' House Winner Revealed: HGTV Outbid Lance Bass | KQED",
"description": "The outside of the house was featured in the 1970s sitcom, but the interior scenes were filmed in a Los Angeles studio.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Brady Bunch' House Winner Revealed: HGTV Outbid Lance Bass",
"datePublished": "2018-08-08T10:25:01-07:00",
"dateModified": "2024-09-18T17:15:28-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Anthony Barcelo",
"nprByline": "Scott Neuman",
"nprImageAgency": "Ernie Carswell & Partners via AP, File",
"nprStoryId": "636603215",
"nprApiLink": "http://api.npr.org/query?id=636603215&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2018/08/08/636603215/brady-bunch-house-sells-to-hgtv-after-outbidding-lance-bass?ft=nprml&f=636603215",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 08 Aug 2018 11:41:00 -0400",
"nprStoryDate": "Wed, 08 Aug 2018 06:21:00 -0400",
"nprLastModifiedDate": "Wed, 08 Aug 2018 11:41:48 -0400",
"path": "/arts/13838479/brady-bunch-house-winner-revealed-hgtv-outbid-lance-bass",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>HGTV is the winning bidder for the Studio City, Calif., house featured in the sitcom \u003cem>The Brady Bunch\u003c/em>, with the cable network’s parent company promising to “restore the home to its 1970s glory.”\u003c/p>\n\u003cp>The CEO of Discovery Inc., which recently completed acquisition of HGTV, announced the news on a corporate earnings call.\u003c/p>\n\u003cp>“One of our projects for HGTV will speak to those Brady Bunch fans on the call,” David Zaslav said, according to \u003ca href=\"http://www.latimes.com/business/realestate/hot-property/la-fi-hotprop-brady-bunch-house-hgtv-20180807-story.html\">The Los Angeles Times.\u003c/a>\u003c/p>\n\u003cp>“You may have heard that the house from the iconic series was recently on the market in California. I’m excited to share that HGTV is the winning bidder and will restore the Brady Bunch home to its 1970s glory as only HGTV can,” he said. “More detail to come over the next few months, but we’ll bring all the resources to bear to tell safe, fun stories about this beloved piece of American TV history.”\u003c/p>\n\u003cp>The purchase price was not immediately available, but it had been listed at $1.85 million.\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 home and garden network reportedly beat out a handful of other interested parties, including Lance Bass, the former ‘N Sync member. Bass announced excitedly on Twitter last week that he had the winning bid, only to be told later by an agent representing the estate that “another corporate buyer” wanted the house “at any cost.”\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1025971593397166081"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“While we appreciate Mr. Bass and his interest in the Dilling Street property, tremendous interest in the house required a sealed, best and final bid,” said a spokesman for Douglas Elliman, the agency selling the property, according to \u003ca href=\"https://www.marketwatch.com/story/lance-bass-lost-a-bidding-war-on-the-brady-bunch-househow-home-buyers-can-avoid-a-similar-fate-2018-08-07\">MarketWatch.\u003c/a> “Our fiduciary obligation is to the seller, who decided to go with the highest, most qualified bid. We wish Mr. Bass the best of luck in future real-estate endeavors.”\u003c/p>\n\u003cp>Douglas Elliman listing agent Ernie Carswell told the \u003cem>Times\u003c/em> on Saturday “that the sale to Bass was not a done deal and that the seller had not made a final decision at the time,” according to the newspaper.\u003c/p>\n\u003cp>After initially chaffing at the reversal, Bass seemed content in defeat, tweeting, “HGTV??! Aw man. I’d be pretty upset if it were anyone else, but how can you be mad at HGTV?? My television is stuck on that channel. Kudos HGTV, I know you will do the right thing with the house. That was always my biggest worry. I can smile again.”\u003c/p>\n\u003cp>As MarketWatch notes, “The chances of making a winning bid are lower when the buyer is competing against someone making an all-cash offer, as was the case for Bass.”\u003c/p>\n\u003cp>In July, the nearly 2,500-square foot house, which sits on a 12,500-square-foot lot, went on the market for the first time in 50 years. It previously sold in 1973 — a year before \u003cem>The Brady Bunch\u003c/em> series wrapped — for $61,000.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/2018/07/19/630482147/expect-a-bunch-of-attention-for-this-house-listing\">we wrote last month,\u003c/a> “Megafans may be disappointed to know that inside, the house looks very different from the sitcom set with its large open staircase. The show was filmed in a Los Angeles studio.”\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=%27Brady+Bunch%27+House+Winner+Revealed%3A+HGTV+Outbid+Lance+Bass&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13838479/brady-bunch-house-winner-revealed-hgtv-outbid-lance-bass",
"authors": [
"byline_arts_13838479"
],
"categories": [
"arts_235",
"arts_990"
],
"tags": [
"arts_596",
"arts_2792"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13838480",
"label": "arts_137"
},
"arts_13838421": {
"type": "posts",
"id": "arts_13838421",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13838421",
"score": null,
"sort": [
1533733223000
]
},
"guestAuthors": [],
"slug": "with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put",
"title": "With Luxury Development on All Sides, Oakland Artists Buy the Right to Stay Put",
"publishDate": 1533733223,
"format": "audio",
"headTitle": "With Luxury Development on All Sides, Oakland Artists Buy the Right to Stay Put | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Oakland’s last section of undeveloped, privately-owned waterfront is a nubby spit of land at the very end of 5th Avenue, where charmingly ramshackle structures occupy roughly four square blocks along the estuary connecting Lake Merritt to the San Francisco Bay. \u003c/p>\n\u003cp>For decades, this area known as Fifth Avenue Point has been a makeshift live-work hub attracting artists, musicians, mechanics, sailors, and craftspeople to its remote-feeling stretch of industrial waterfront; its gravel lots teem with succulents and found objects repurposed as decoration.\u003c/p>\n\u003cp>In the middle of it all is \u003ca href=\"https://www.shadetreeartisans.org/\" rel=\"noopener\" target=\"_blank\">Shadetree\u003c/a>, a tight-knit, insular community of dozens of residents, living in interconnected buildings, that feels like a family. During a tour, resident Benjamin Burke called a neighbor’s newborn child “our baby,” before letting himself into another neighbor’s unit. \u003c/p>\n\u003cfigure id=\"attachment_13838444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-800x533.jpg\" alt=\"Freddi, a resident of Shadetree, pets a cat on the steps. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13838444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freddi, a resident of Shadetree, pets a cat on the steps. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the cloistered, hideaway atmosphere is changing. To the property’s immediate north, east, and west are building sites within a scheduled 35-acre commercial-residential project \u003ca href=\"http://brooklynbasin.com/\" rel=\"noopener\" target=\"_blank\">Brooklyn Basin\u003c/a>, Oakland’s largest new development since World War II. Developers have plotted to “revitalize” Fifth Avenue Point for decades, but when Shadetree’s owners decided to sell in 2016, it finally seemed likely. \u003c/p>\n\u003cp>Instead, the tenants raised $2.5 million and purchased Shadetree themselves. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Now we’re this little strip in the middle of the Brooklyn Basin plan that says, ‘Not a part of project,’” said Burke, a writer and onetime TED Fellow. (His talk centered on the virtues of “winging it.”) “If we could pull this off, I mean—we’re made of trash!” \u003c/p>\n\u003cfigure id=\"attachment_13838442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-800x566.jpg\" alt=\"A map of the scheduled Brooklyn Basin development, showing Shadetree at left, circled in yellow. \" width=\"800\" height=\"566\" class=\"size-medium wp-image-13838442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-1200x849.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-960x680.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-520x368.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A map of the scheduled Brooklyn Basin development, showing Shadetree at left, circled in yellow. \u003ccite>(via Brooklyn Basin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September 2016, the Shadetree tenants received a letter from their landlords, Reed and Matt Westphal, giving them 90 days to make an offer on the property. They mustered a deposit and signed a purchase agreement in February, and spent months securing $2.5 million in loans—about half from a private equity lender, and the other half from 22 individual supporters—to buy the property through a newly-formed nonprofit, Shadetree Historical Artisan Development Engine (SHADE). The sale went through last July. \u003c/p>\n\u003cp>Threats to Oakland live-work housing have been mounting for years, due to development, encroaching cannabis business, and a city code-enforcement crackdown. Shadetree’s shoreline locale, its position within Oakland’s cannabis-permitted “green zone,” and location in the center of plans for Brooklyn Basin made it particularly vulnerable. Donna Smithey, 66, a 5th Avenue resident who helped organize the acquisition, said that when the Westphals offered to sell to the tenants, she thought it was just a face-saving gesture before eviction. “I don’t think they expected us to get it together,” she said. \u003c/p>\n\u003cfigure id=\"attachment_13838453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-800x600.jpg\" alt=\"A meeting at Shadetree. Residents recently bought the live-work artist complex amidst encroaching development. \" width=\"800\" height=\"600\" class=\"size-medium wp-image-13838453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-1200x901.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A meeting at Shadetree. Residents recently bought the live-work artist complex amidst encroaching development. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The structure of the acquisition—involving a property-specific nonprofit and a plan to collectivize ownership—is similar to the land-trust model, wherein tenants generally rent from a nonprofit entity bound by an affordability covenant and restricted from selling the property. In the past year, the Oakland Community Land Trust has added two mixed-use buildings to its portfolio. Like those arrangements, the Shadetree tenants consider their acquisition a bulwark against displacement, and insulation from real-estate market pressure. \u003c/p>\n\u003caside class=\"alignright\">\n\u003cul>\n\u003cli>RELATED: \u003ca href=\"https://www.kqed.org/news/10375692/mission-tenants-avoid-eviction-and-gain-a-long-term-home\" target=\"_blank\" rel=\"noopener\">Mission Tenants Avoid Eviction and Gain a Long-Term Home\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“Shadetree is now an important model for other communities of artists trying to find the wherewithal to buy their building in Oakland,” said Kelley Kahn, the city’s policy director for art spaces, who supported the tenants through the acquisition. “Ownership is the most powerful tool artists have to protect themselves in a changing and highly competitive private real estate market—and unfortunately the hardest to achieve.” \u003c/p>\n\u003cp>David Keenan of Safer DIY Spaces, a consulting organization helping Shadetree resolve permitting and zoning issues, called the purchase “unprecedented,” adding that the live-work complex is arguably the oldest of its kind in Oakland. “The odds were long and the timeframe was compressed,” he said. “It defies not just my expectations—all of the lawyers and professionals who helped were dumbfounded that they made this happen.” \u003c/p>\n\u003cfigure id=\"attachment_13838447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-800x533.jpg\" alt=\"Kate, a resident of Shadetree, among the busy decór. Residents of the artist live-work complex recently purchased the property amidst planned adjacent development.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13838447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kate, a resident of Shadetree, among the busy decór. Residents of the artist live-work complex recently purchased the property amidst planned adjacent development. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fifth Avenue Point hosted largely shipbuilding businesses for much of the 20th Century. J.W. Silveira, now a major Alameda County property owner, acquired six and a half acres in the 1960s, and Robert Schultz bought the half-acre known as Shadetree in 1979. Schultz, a wild-eyed flea-market magpie, collected and sold antiques on the property and rented space to artists. Visitors tended to note his 3,500-pound aluminum tooth sculpture—a gift from Seward Johnson, estranged heir to the Johnson & Johnson fortune. \u003c/p>\n\u003cp>Under Schultz’s “benevolent dictatorship,” as Burke called it, Shadetree became a waterfront curiosity, a fringe community à la pre-money Sausalito with the cluttered, rustic look of public art installations such as Nitwit Ridge or Watts Towers. Shadetree published a photo book, edited by nautical artist Constance Hockaday, documenting years of life at the Point, which the introduction likens to John Steinbeck’s Cannery Row. \u003c/p>\n\u003cp>Even the Port of Oakland’s 157-page estuary policy plan, published in 1999, is threaded with surprisingly perceptive praise for the creative haven: “The Fifth Avenue Point community includes a synergistic grouping of artists, artisans, and small industrial business,” it reads. “It should be noted that enclaves such as this are rarely planned.”\u003c/p>\n\u003cfigure id=\"attachment_13838454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-800x533.jpg\" alt=\"A plaque at Shadetree, erected in 1993.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13838454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A plaque at Shadetree, erected in 1993. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, Shadetree seemed precarious. “For the past decade, Fifth Avenue Point has been well known for something else: imminent doom,” wrote former \u003cem>San Francisco Chronicle\u003c/em> columnist Jon Carroll in 2006 amid the planning of Brooklyn Basin, adding darkly that it “would not survive efforts to redevelop it, nor would it survive efforts to preserve it.” \u003c/p>\n\u003cp>In the late 1990s, a consultant firm hired by local government proposed a plan calling for “the city and port to take the land through eminent domain,” according to a 1997 \u003cem>East Bay Express\u003c/em> article, prompting outcry from the residents. Early in planning Brooklyn Basin, a project championed by former mayors Jean Quan and Jerry Brown, Signature Development Group founder Michael Ghielmetti tried to buy Shadetree from Schultz.\u003c/p>\n\u003cp>(Ghielmetti acknowledged trying to acquire Shadetree years ago, but said he’s happy for the tenants’ successful purchase. “We’re thrilled to have them as neighbors,” he said.) \u003c/p>\n\u003cp>In 2008, Schultz sold the property to the Westphals, a family tied to Balco Properties and Bay Alarm, with an understanding that they’d try to preserve Shadetree, according to Smithey. (The Westphals did not respond to an interview request.) But Smithey, a Safer DIY Spaces consultant who’s worked in affordable housing development, said that during negotiations, the Westphals revealed that they’d commissioned an assessment indicating the property could support “40 or 50 condos.”\u003c/p>\n\u003cfigure id=\"attachment_13838452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-800x534.jpg\" alt=\"A unit at Shadetree.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13838452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A unit at Shadetree. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for the effort by residents to buy Shadetree, it wasn’t exactly easy. Twenty-two lenders turned them down. “I talked to so many private equity brokers,” Smithey said. “One guy drove up in a Tesla. He saw the place and declined.” Eventually, Val Chris Investments provided $1.25 million. The tenants then solicited 22 smaller loans from friends and supporters totaling $1.55 million. For the very last $100,000, Burke visited a patron on a houseboat. \u003c/p>\n\u003cp>Technically, the property is owned by the SHADE nonprofit. Within a few years, Smithey said, the goal is to consolidate the loans with one bank, and give tenants ownership stakes through a limited-equity cooperative. \u003c/p>\n\u003cp>Now they have to pay back the loans, and equitably reengineer responsibilities. To that end, they equalized rent, measuring all of the units and determining a shared cost per square foot that’d meet their loan obligations — so some tenants’ rent increased. “I was afraid we’d lose someone over that,” Burke said. “But we didn’t, and it’s still way under market.” He said rent now averages $900 per unit, and everyone contributes to upkeep. \u003c/p>\n\u003cfigure id=\"attachment_13838455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-800x534.jpg\" alt=\"Outside at Shadetree in Oakland.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13838455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside at Shadetree in Oakland. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The residents said they’ll soon need to raise more money for code-compliance improvements, and there’s some tension between Shadetree and Brooklyn Basin over shared property lines and easements.\u003c/p>\n\u003cp>And on the other side of the Point, according to Smithey, Silveira has been gradually phasing out residential tenants in favor of cannabis business. “We went into this knowing that in 10 to 15 years we might be surrounded by tall buildings,” she said. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the meantime, Shadetree is in Oakland to stay. “It’s sink or swim,” Burke said of his waterfront home, “and we’re swimming.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "How tenants of the Oakland live-work complex Shadetree purchased their waterfront property and averted displacement.",
"status": "publish",
"parent": 0,
"modified": 1726771012,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 26,
"wordCount": 1587
},
"headData": {
"title": "With Luxury Development on All Sides, Oakland Artists Buy the Right to Stay Put | KQED",
"description": "How tenants of the Oakland live-work complex Shadetree purchased their waterfront property and averted displacement.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "With Luxury Development on All Sides, Oakland Artists Buy the Right to Stay Put",
"datePublished": "2018-08-08T06:00:23-07:00",
"dateModified": "2024-09-19T11:36:52-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2018/08/WattShadeTree.mp3",
"sticky": false,
"audioTrackLength": 332,
"path": "/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s last section of undeveloped, privately-owned waterfront is a nubby spit of land at the very end of 5th Avenue, where charmingly ramshackle structures occupy roughly four square blocks along the estuary connecting Lake Merritt to the San Francisco Bay. \u003c/p>\n\u003cp>For decades, this area known as Fifth Avenue Point has been a makeshift live-work hub attracting artists, musicians, mechanics, sailors, and craftspeople to its remote-feeling stretch of industrial waterfront; its gravel lots teem with succulents and found objects repurposed as decoration.\u003c/p>\n\u003cp>In the middle of it all is \u003ca href=\"https://www.shadetreeartisans.org/\" rel=\"noopener\" target=\"_blank\">Shadetree\u003c/a>, a tight-knit, insular community of dozens of residents, living in interconnected buildings, that feels like a family. During a tour, resident Benjamin Burke called a neighbor’s newborn child “our baby,” before letting himself into another neighbor’s unit. \u003c/p>\n\u003cfigure id=\"attachment_13838444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-800x533.jpg\" alt=\"Freddi, a resident of Shadetree, pets a cat on the steps. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13838444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freddi, a resident of Shadetree, pets a cat on the steps. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the cloistered, hideaway atmosphere is changing. To the property’s immediate north, east, and west are building sites within a scheduled 35-acre commercial-residential project \u003ca href=\"http://brooklynbasin.com/\" rel=\"noopener\" target=\"_blank\">Brooklyn Basin\u003c/a>, Oakland’s largest new development since World War II. Developers have plotted to “revitalize” Fifth Avenue Point for decades, but when Shadetree’s owners decided to sell in 2016, it finally seemed likely. \u003c/p>\n\u003cp>Instead, the tenants raised $2.5 million and purchased Shadetree themselves. \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>“Now we’re this little strip in the middle of the Brooklyn Basin plan that says, ‘Not a part of project,’” said Burke, a writer and onetime TED Fellow. (His talk centered on the virtues of “winging it.”) “If we could pull this off, I mean—we’re made of trash!” \u003c/p>\n\u003cfigure id=\"attachment_13838442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-800x566.jpg\" alt=\"A map of the scheduled Brooklyn Basin development, showing Shadetree at left, circled in yellow. \" width=\"800\" height=\"566\" class=\"size-medium wp-image-13838442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-1200x849.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-960x680.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-520x368.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A map of the scheduled Brooklyn Basin development, showing Shadetree at left, circled in yellow. \u003ccite>(via Brooklyn Basin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September 2016, the Shadetree tenants received a letter from their landlords, Reed and Matt Westphal, giving them 90 days to make an offer on the property. They mustered a deposit and signed a purchase agreement in February, and spent months securing $2.5 million in loans—about half from a private equity lender, and the other half from 22 individual supporters—to buy the property through a newly-formed nonprofit, Shadetree Historical Artisan Development Engine (SHADE). The sale went through last July. \u003c/p>\n\u003cp>Threats to Oakland live-work housing have been mounting for years, due to development, encroaching cannabis business, and a city code-enforcement crackdown. Shadetree’s shoreline locale, its position within Oakland’s cannabis-permitted “green zone,” and location in the center of plans for Brooklyn Basin made it particularly vulnerable. Donna Smithey, 66, a 5th Avenue resident who helped organize the acquisition, said that when the Westphals offered to sell to the tenants, she thought it was just a face-saving gesture before eviction. “I don’t think they expected us to get it together,” she said. \u003c/p>\n\u003cfigure id=\"attachment_13838453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-800x600.jpg\" alt=\"A meeting at Shadetree. Residents recently bought the live-work artist complex amidst encroaching development. \" width=\"800\" height=\"600\" class=\"size-medium wp-image-13838453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-1200x901.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A meeting at Shadetree. Residents recently bought the live-work artist complex amidst encroaching development. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The structure of the acquisition—involving a property-specific nonprofit and a plan to collectivize ownership—is similar to the land-trust model, wherein tenants generally rent from a nonprofit entity bound by an affordability covenant and restricted from selling the property. In the past year, the Oakland Community Land Trust has added two mixed-use buildings to its portfolio. Like those arrangements, the Shadetree tenants consider their acquisition a bulwark against displacement, and insulation from real-estate market pressure. \u003c/p>\n\u003caside class=\"alignright\">\n\u003cul>\n\u003cli>RELATED: \u003ca href=\"https://www.kqed.org/news/10375692/mission-tenants-avoid-eviction-and-gain-a-long-term-home\" target=\"_blank\" rel=\"noopener\">Mission Tenants Avoid Eviction and Gain a Long-Term Home\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“Shadetree is now an important model for other communities of artists trying to find the wherewithal to buy their building in Oakland,” said Kelley Kahn, the city’s policy director for art spaces, who supported the tenants through the acquisition. “Ownership is the most powerful tool artists have to protect themselves in a changing and highly competitive private real estate market—and unfortunately the hardest to achieve.” \u003c/p>\n\u003cp>David Keenan of Safer DIY Spaces, a consulting organization helping Shadetree resolve permitting and zoning issues, called the purchase “unprecedented,” adding that the live-work complex is arguably the oldest of its kind in Oakland. “The odds were long and the timeframe was compressed,” he said. “It defies not just my expectations—all of the lawyers and professionals who helped were dumbfounded that they made this happen.” \u003c/p>\n\u003cfigure id=\"attachment_13838447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-800x533.jpg\" alt=\"Kate, a resident of Shadetree, among the busy decór. Residents of the artist live-work complex recently purchased the property amidst planned adjacent development.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13838447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kate, a resident of Shadetree, among the busy decór. Residents of the artist live-work complex recently purchased the property amidst planned adjacent development. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fifth Avenue Point hosted largely shipbuilding businesses for much of the 20th Century. J.W. Silveira, now a major Alameda County property owner, acquired six and a half acres in the 1960s, and Robert Schultz bought the half-acre known as Shadetree in 1979. Schultz, a wild-eyed flea-market magpie, collected and sold antiques on the property and rented space to artists. Visitors tended to note his 3,500-pound aluminum tooth sculpture—a gift from Seward Johnson, estranged heir to the Johnson & Johnson fortune. \u003c/p>\n\u003cp>Under Schultz’s “benevolent dictatorship,” as Burke called it, Shadetree became a waterfront curiosity, a fringe community à la pre-money Sausalito with the cluttered, rustic look of public art installations such as Nitwit Ridge or Watts Towers. Shadetree published a photo book, edited by nautical artist Constance Hockaday, documenting years of life at the Point, which the introduction likens to John Steinbeck’s Cannery Row. \u003c/p>\n\u003cp>Even the Port of Oakland’s 157-page estuary policy plan, published in 1999, is threaded with surprisingly perceptive praise for the creative haven: “The Fifth Avenue Point community includes a synergistic grouping of artists, artisans, and small industrial business,” it reads. “It should be noted that enclaves such as this are rarely planned.”\u003c/p>\n\u003cfigure id=\"attachment_13838454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-800x533.jpg\" alt=\"A plaque at Shadetree, erected in 1993.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13838454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A plaque at Shadetree, erected in 1993. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, Shadetree seemed precarious. “For the past decade, Fifth Avenue Point has been well known for something else: imminent doom,” wrote former \u003cem>San Francisco Chronicle\u003c/em> columnist Jon Carroll in 2006 amid the planning of Brooklyn Basin, adding darkly that it “would not survive efforts to redevelop it, nor would it survive efforts to preserve it.” \u003c/p>\n\u003cp>In the late 1990s, a consultant firm hired by local government proposed a plan calling for “the city and port to take the land through eminent domain,” according to a 1997 \u003cem>East Bay Express\u003c/em> article, prompting outcry from the residents. Early in planning Brooklyn Basin, a project championed by former mayors Jean Quan and Jerry Brown, Signature Development Group founder Michael Ghielmetti tried to buy Shadetree from Schultz.\u003c/p>\n\u003cp>(Ghielmetti acknowledged trying to acquire Shadetree years ago, but said he’s happy for the tenants’ successful purchase. “We’re thrilled to have them as neighbors,” he said.) \u003c/p>\n\u003cp>In 2008, Schultz sold the property to the Westphals, a family tied to Balco Properties and Bay Alarm, with an understanding that they’d try to preserve Shadetree, according to Smithey. (The Westphals did not respond to an interview request.) But Smithey, a Safer DIY Spaces consultant who’s worked in affordable housing development, said that during negotiations, the Westphals revealed that they’d commissioned an assessment indicating the property could support “40 or 50 condos.”\u003c/p>\n\u003cfigure id=\"attachment_13838452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-800x534.jpg\" alt=\"A unit at Shadetree.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13838452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A unit at Shadetree. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for the effort by residents to buy Shadetree, it wasn’t exactly easy. Twenty-two lenders turned them down. “I talked to so many private equity brokers,” Smithey said. “One guy drove up in a Tesla. He saw the place and declined.” Eventually, Val Chris Investments provided $1.25 million. The tenants then solicited 22 smaller loans from friends and supporters totaling $1.55 million. For the very last $100,000, Burke visited a patron on a houseboat. \u003c/p>\n\u003cp>Technically, the property is owned by the SHADE nonprofit. Within a few years, Smithey said, the goal is to consolidate the loans with one bank, and give tenants ownership stakes through a limited-equity cooperative. \u003c/p>\n\u003cp>Now they have to pay back the loans, and equitably reengineer responsibilities. To that end, they equalized rent, measuring all of the units and determining a shared cost per square foot that’d meet their loan obligations — so some tenants’ rent increased. “I was afraid we’d lose someone over that,” Burke said. “But we didn’t, and it’s still way under market.” He said rent now averages $900 per unit, and everyone contributes to upkeep. \u003c/p>\n\u003cfigure id=\"attachment_13838455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-800x534.jpg\" alt=\"Outside at Shadetree in Oakland.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13838455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside at Shadetree in Oakland. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The residents said they’ll soon need to raise more money for code-compliance improvements, and there’s some tension between Shadetree and Brooklyn Basin over shared property lines and easements.\u003c/p>\n\u003cp>And on the other side of the Point, according to Smithey, Silveira has been gradually phasing out residential tenants in favor of cannabis business. “We went into this knowing that in 10 to 15 years we might be surrounded by tall buildings,” she said. \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>In the meantime, Shadetree is in Oakland to stay. “It’s sink or swim,” Burke said of his waterfront home, “and we’re swimming.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put",
"authors": [
"11091"
],
"categories": [
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1143"
],
"featImg": "arts_13838445",
"label": "arts"
},
"arts_13838218": {
"type": "posts",
"id": "arts_13838218",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13838218",
"score": null,
"sort": [
1533672584000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1533672584,
"format": "image",
"title": "On the Ranch with Nef the Pharaoh",
"headTitle": "On the Ranch with Nef the Pharaoh | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“S\u003c/span>cared of lizards or mice, y’all?” Nef the Pharaoh asks as he ushers me and a photographer into the barn of his Vacaville ranch to show off his ATV.\u003c/p>\n\u003cp>“I try to have my friends come up here,” he says as he pulls off the dusty cover to get on the four-wheeler. “We do paint balling. We have a couple ATVs going, a few dirt bikes in the garage.”\u003c/p>\n\u003cp>The Vallejo-raised rapper has been coming to this two-and-a-half-acre ranch since he was a little boy. His grandfather James got the property on a lease-to-own land contract after coming back from the Vietnam war as a combat-injured veteran. Once his rap money started coming in, Nef paid off the rest with his dad.\u003c/p>\n\u003cp>“Now it’s ours and we own it,” he says with pride.\u003c/p>\n\u003cfigure id=\"attachment_13838170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838170 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6675-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh visits his Vacaville ranch often to escape city life and ride ATVs with his friends. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef, who just drove in from his nearby condo in a silver Mercedes, has on a white tank top and simple gray sweats with one pant leg rolled up; he got a new tattoo earlier in the day and needs to let it breathe. The 90-degree heat makes the freshly inked words “Dream More” bleed on his shin, right next to a tattooed portrait of his mentor, E-40, a fellow ambassador of the 707 who’s championed Nef since before his single about being a teenage hustler, “\u003ca href=\"https://youtu.be/qwEZGsf_MXA\" target=\"_blank\" rel=\"noopener\">Big Tymin’\u003c/a>,” went viral in 2015.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I got this far and never signed with a major label, ever,” Nef says, praising E-40 for setting an example of how to thrive as an indie artist in the Bay Area.\u003c/p>\n\u003cp>When E-40 signed Nef to his label, Sick Wid It Records, it was an invaluable endorsement from the foremost gatekeeper of Bay Area rap. Now, with his first official album (and fourth major project), \u003cem>The Big Chang Theory\u003c/em>, dropping on Aug. 10, Nef has outgrown the role of protégé, becoming a star of the Bay Area music scene in his own right.\u003c/p>\n\u003cp>Along with indie upstarts like SOB x RBE, ALLBLACK and Mozzy, Nef the Pharaoh has come to define the current era of hard-edged, streetwise Northern California rap. Tracks like “\u003ca href=\"https://www.youtube.com/watch?v=FJVxiyiVflg\" target=\"_blank\" rel=\"noopener\">Bling Blaow\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=EwH5C4DSgSg\" target=\"_blank\" rel=\"noopener\">#Saydaat\u003c/a>” have become regional hits over the past two years. And collaborations with some of the West Coast’s biggest stars, including Ty Dolla $ign, YG and G-Eazy, have positioned Nef as a conduit between the notoriously insular Bay Area scene and the national stage.\u003c/p>\n\u003cp>“I never wanna get satisfied because once you get satisfied, you get lazy. Everyday, I know I accomplished a goal but I still want to go at it like I’m a freshman,” he says of his place in the local rap pantheon, taking a sip of an ice-cold Snapple. “I still want to achieve, or prove, or earn my spot. I don’t wanna kick my feet up.”\u003c/p>\n\u003cp>A gracious host, Nef continues the tour of the ranch. A herd of baby goats skips away as he approaches, seemingly unaccustomed to the presence of an urbanite visitor with a diamond-encrusted gold chain (incidentally, in the shape of Plank from the cartoon \u003cem>Ed, Edd n Eddy\u003c/em>, about a trio of friends obsessed with concocting money-making schemes).\u003c/p>\n\u003cfigure id=\"attachment_13838171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838171 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6681-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh has outgrown the role of E-40’s protégé and become a Bay Area rap star in his own right. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We walk along the dirt path, through shady groves of fig and olive trees, to a team of horses, some of whom Nef and his grandfather adopted from ranchers displaced by last year’s destructive Sonoma County wildfires. When he points out his favorite, a brown-and-white mare, his face lights up with the gentle kindness of a genuine animal lover.\u003c/p>\n\u003cp>Nef, who was raised in South Vallejo (in E-40’s Magazine Street neighborhood) and Sacramento, often visits the ranch to get away from the stresses of city life.\u003c/p>\n\u003cp>“I come here and get a peace of mind,” he says as we sit down on a porch swing in the shade. “All you hear is the highways, and you see the stars.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>espite Nef’s considerable success, those urban stresses are ever-present in \u003cem>The Big Chang Theory\u003c/em>, whose opener “Victim,” featuring OMB Peezy, indicts police brutality against the black community.\u003c/p>\n\u003cp>“I’ve witnessed police brutality in my younger years, and I’ve witnessed police brutality this year—me being Nef the Pharaoh,” he says, adding that success doesn’t insulate him from the realities of racism in America. “I just want the world to know that even though I’m here and I’m able to maintain this lifestyle, the flashy objects, I’m woke. I still know what’s going on. And they still hate me just like you. I’m still a product of my environment.”\u003c/p>\n\u003cfigure id=\"attachment_13838176\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838176 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6703-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On his new album, ‘The Big Chang Theory,’ Nef the Pharaoh candidly addresses police brutality against the black community. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The conversation turns to Stephon Clark, the unarmed 22-year-old murdered by Sacramento police in his grandmother’s backyard in May, leaving behind his girlfriend and two young kids. “I actually smoked with him a few times in my adolescence,” Nef says—and then, conscious of the ways the media often demonizes victims of violent crimes when they’re black, clarifies, “Even though I’m saying I smoked marijuana with the dude, he wasn’t a bad person.”\u003c/p>\n\u003cp>On “Victim,” Nef calls out racism in the criminal justice system without mincing words: “That’s why I hate the police / And I raise my son to / Baby, we got melanin / That’s why they wanna hunt you,” he rhymes over an airy beat that manages to sound wistful despite its subterranean bass and distinctive Bay Area bounce.\u003c/p>\n\u003cp>With the track, Nef makes poetry out of that pain and fear, but he’s also pragmatic. He brings up the fact that officers rarely face legal consequences for killing unarmed citizens, and explains the need for greater accountability. “Some cops have a whole background history of being racist; they have a whole background issue of mental illnesses,” Nef says. “One thing might trigger their mental illness and next thing you know, he’s beating this man senseless or he just shot this man for no reason. They should really be evaluated deeper than they are; they should go through more training than they are.”\u003c/p>\n\u003cp>Amid the many highly publicized police shootings in recent years, Clark’s killing hit particularly close to home to Nef as a young father, he explains. “Even though me and my son’s mom aren’t together, we always talk about how fathers or young parents get taken away from their kids and how much that would hurt,” says Nef, who is 23.\u003c/p>\n\u003cfigure id=\"attachment_13838175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838175 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6700-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“I come here and get a peace of mind. All you hear is the highways, and you see the stars.” \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef’s \u003ca href=\"https://twitter.com/gmeline/status/934689530338197505\" target=\"_blank\" rel=\"noopener\">four-year-old son\u003c/a>, whom he co-parents with his ex, is a huge part of his life. Baby Nef was a newborn when “Big Tymin’” started to blow up on YouTube. Navigating newfound fame, financial success and fatherhood made Nef grow up quickly, and he looks back on that turbulent period as a major life lesson. “That was a dope time in my life,” Nef says. “But me being young and on the road fucked up my relationship with his mom. I was a young adolescent; I just let the road get in the way of what was more important, relationship-wise. We’re still not together, but it is what it is. I just gotta be a man and take care of my family.”\u003c/p>\n\u003cp>The demands of fatherhood called for more income, and more income meant more touring and being away from home. After a pensive pause, he raises his voice passionately to talk about the often-overlooked mental health consequences of being a traveling musician. “Man! Depression, anxiety,” he exclaims. “A lot of shit that rappers don’t talk about, or a lot of rappers try to cover it with this big Xanax epidemic.”\u003c/p>\n\u003cp>He mentions Lil Peep, who died of an opioid overdose in 2017. “I just see my peers—this anxiety and depression that we go through, being young and on this road by ourselves—feeling like we have no one to talk to can eat you alive,” Nef says, adding that he once had a Xanax prescription for anxiety and stopped taking the drug because it made him feel like a “robot” and a “zombie.” “I saw that early on and I vowed to myself that I wasn’t going to be one of those rappers.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>eyond its downcast opening track, Nef’s attitude throughout \u003cem>The Big Chang Theory\u003c/em> is celebratory yet defiant—of racist institutions, the law, poverty, stereotypes. The project’s bonafide club banger is the rapidfire “\u003ca href=\"https://youtu.be/b8aONPFZ2xs\" target=\"_blank\" rel=\"noopener\">86\u003c/a>” featuring ALLBLACK and Cuban Doll (who’s shaping up to be a next-generation Trina with her mix of pretty and gangster). On it, the trio spits venom about getting booted out of a club to an adrenaline-inducing, double-time beat with a gritty, Bay-meets-Detroit funk.\u003c/p>\n\u003cfigure id=\"attachment_13838174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838174 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6692-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Balancing fun, toughness and honest reflection, ‘The Big Chang Theory’ is a compelling snapshot of Nef the Pharaoh’s life. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the album, Nef does plenty of punchline-oriented flexing, but \u003cem>The Big Chang Theory\u003c/em> also goes deep into his real-life struggles—being a young dad, escaping poverty by virtue of his talents, navigating the pitfalls of fame. With Hercules’ DTB and Sacramento’s Juneonnabeat as producers, the project positions Nef as an heir to Northern California’s mobb music sound—which his mentor, E-40, helped pioneer in the ’80s and ’90s.\u003c/p>\n\u003cp>That balance of fun, toughness and honest reflection throughout \u003cem>The Big Chang Theory\u003c/em> gives Nef a chameleon-like quality, appealing to suburban kids and those from the hood alike. He sounds just as natural on a love song with silky-voiced Dej Loaf (“What We Have”) as he does on his recent mixtape with 03 Greedo, the L.A. rapper who recently went to prison on a 20-year sentence for trafficking meth.\u003c/p>\n\u003cp>But as much as Nef chases success, broad appeal comes with a price, and he remains wary of fame. “Knock Down a Fan” is a warning to hangers-on with bad intentions—a testament to the lessons he’s learned on tour.\u003c/p>\n\u003cp>“Now I know how to be prepared for the road more: keep my dick in my pants,” Nef says. “Even though I’m single, it’s not safe, gambling with life. I could have another baby. I could catch an STD. Everybody’s gonna come up to you with a smile, but they’re not going to show you the jealousy and envy. The demons that’s holding the sides of them cheeks up—those are invisible.”\u003c/p>\n\u003cfigure id=\"attachment_13838178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838178 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6717-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wariness of fame and life on the road is a major theme in Nef the Pharaoh’s latest music. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef the Pharaoh has always been precocious. He knew he wanted to be a rapper after winning a talent contest at four years old, and later dropped out of high school in Sacramento to pursue his dream. (He comes from a musical family: his uncle was a member of the pioneering Chicano rap group Funky Aztecs). On one of his early features, on Corn’s “\u003ca href=\"https://youtu.be/XWDDenNx0Y0\" target=\"_blank\" rel=\"noopener\">Old School Hyphy\u003c/a>,” he brags about out-earning his teachers via the streets.\u003c/p>\n\u003cp>Now, he’s focused on building wealth that will weather the ups and downs of the notoriously fickle music industry. Like E-40, who preaches the value of persistence and diversifying one’s income, Nef is slowly building his business empire and a better future for his son.\u003c/p>\n\u003cp>“If I get something, it’s going to be land, a vehicle—something that’s going to last me long-term that I can invest in,” he says, mentioning his brand of pre-rolled joints, called Pharaohs, that he sells at cannabis clubs across the Bay Area. He’s also working on his own weed strain, called Chang’s Hii Chew (named after the Japanese candy), and is starting a French bulldog-breeding business on the ranch with his dad.\u003c/p>\n\u003cp>Nef is also writing a cartoon that he hopes to pitch to Adult Swim. And his own label, KILFMB (Keep it Lit for My Brothers, a motto for living life to the fullest in honor of those who’ve passed), is also on the rise: his first signee, OMB Peezy, has been gaining national attention for his Sacramento-by-way-of-Alabama swag in recent years. The two of them will hit the road with E-40 later this month for the \u003ca href=\"https://twitter.com/E40/status/1019181904828874753\" target=\"_blank\" rel=\"noopener\">Gift of Gab tour\u003c/a>, which Nef plans to follow up with a tour of his own.\u003c/p>\n\u003cp>Nef says goodbye to his grandfather, who’s inside watching the news at high volume with no air conditioning. It’s time to escape the unforgiving Vacaville heat, he says, and go back to the condo to finish binge-watching the new season of \u003cem>Orange is the New Black\u003c/em>. He’s savoring his days off before hitting the road again for several weeks.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“After this album drops, it’s foot on the gas,” he says, determined, and hops in his Mercedes to cruise down the desolate country highway.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2429,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 35
},
"modified": 1705027408,
"excerpt": "Among hay bales and baby goats, the Bay Area rap star discusses leaving Vallejo, police brutality and his new album, 'The Big Chang Theory.'",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Among hay bales and baby goats, the Bay Area rap star discusses leaving Vallejo, police brutality and his new album, 'The Big Chang Theory.'",
"title": "On the Ranch with Nef the Pharaoh | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "On the Ranch with Nef the Pharaoh",
"datePublished": "2018-08-07T13:09:44-07:00",
"dateModified": "2024-01-11T18:43:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "on-the-ranch-with-nef-the-pharaoh",
"status": "publish",
"sticky": false,
"path": "/arts/13838218/on-the-ranch-with-nef-the-pharaoh",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“S\u003c/span>cared of lizards or mice, y’all?” Nef the Pharaoh asks as he ushers me and a photographer into the barn of his Vacaville ranch to show off his ATV.\u003c/p>\n\u003cp>“I try to have my friends come up here,” he says as he pulls off the dusty cover to get on the four-wheeler. “We do paint balling. We have a couple ATVs going, a few dirt bikes in the garage.”\u003c/p>\n\u003cp>The Vallejo-raised rapper has been coming to this two-and-a-half-acre ranch since he was a little boy. His grandfather James got the property on a lease-to-own land contract after coming back from the Vietnam war as a combat-injured veteran. Once his rap money started coming in, Nef paid off the rest with his dad.\u003c/p>\n\u003cp>“Now it’s ours and we own it,” he says with pride.\u003c/p>\n\u003cfigure id=\"attachment_13838170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838170 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6675-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh visits his Vacaville ranch often to escape city life and ride ATVs with his friends. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef, who just drove in from his nearby condo in a silver Mercedes, has on a white tank top and simple gray sweats with one pant leg rolled up; he got a new tattoo earlier in the day and needs to let it breathe. The 90-degree heat makes the freshly inked words “Dream More” bleed on his shin, right next to a tattooed portrait of his mentor, E-40, a fellow ambassador of the 707 who’s championed Nef since before his single about being a teenage hustler, “\u003ca href=\"https://youtu.be/qwEZGsf_MXA\" target=\"_blank\" rel=\"noopener\">Big Tymin’\u003c/a>,” went viral in 2015.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I got this far and never signed with a major label, ever,” Nef says, praising E-40 for setting an example of how to thrive as an indie artist in the Bay Area.\u003c/p>\n\u003cp>When E-40 signed Nef to his label, Sick Wid It Records, it was an invaluable endorsement from the foremost gatekeeper of Bay Area rap. Now, with his first official album (and fourth major project), \u003cem>The Big Chang Theory\u003c/em>, dropping on Aug. 10, Nef has outgrown the role of protégé, becoming a star of the Bay Area music scene in his own right.\u003c/p>\n\u003cp>Along with indie upstarts like SOB x RBE, ALLBLACK and Mozzy, Nef the Pharaoh has come to define the current era of hard-edged, streetwise Northern California rap. Tracks like “\u003ca href=\"https://www.youtube.com/watch?v=FJVxiyiVflg\" target=\"_blank\" rel=\"noopener\">Bling Blaow\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=EwH5C4DSgSg\" target=\"_blank\" rel=\"noopener\">#Saydaat\u003c/a>” have become regional hits over the past two years. And collaborations with some of the West Coast’s biggest stars, including Ty Dolla $ign, YG and G-Eazy, have positioned Nef as a conduit between the notoriously insular Bay Area scene and the national stage.\u003c/p>\n\u003cp>“I never wanna get satisfied because once you get satisfied, you get lazy. Everyday, I know I accomplished a goal but I still want to go at it like I’m a freshman,” he says of his place in the local rap pantheon, taking a sip of an ice-cold Snapple. “I still want to achieve, or prove, or earn my spot. I don’t wanna kick my feet up.”\u003c/p>\n\u003cp>A gracious host, Nef continues the tour of the ranch. A herd of baby goats skips away as he approaches, seemingly unaccustomed to the presence of an urbanite visitor with a diamond-encrusted gold chain (incidentally, in the shape of Plank from the cartoon \u003cem>Ed, Edd n Eddy\u003c/em>, about a trio of friends obsessed with concocting money-making schemes).\u003c/p>\n\u003cfigure id=\"attachment_13838171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838171 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6681-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh has outgrown the role of E-40’s protégé and become a Bay Area rap star in his own right. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We walk along the dirt path, through shady groves of fig and olive trees, to a team of horses, some of whom Nef and his grandfather adopted from ranchers displaced by last year’s destructive Sonoma County wildfires. When he points out his favorite, a brown-and-white mare, his face lights up with the gentle kindness of a genuine animal lover.\u003c/p>\n\u003cp>Nef, who was raised in South Vallejo (in E-40’s Magazine Street neighborhood) and Sacramento, often visits the ranch to get away from the stresses of city life.\u003c/p>\n\u003cp>“I come here and get a peace of mind,” he says as we sit down on a porch swing in the shade. “All you hear is the highways, and you see the stars.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>espite Nef’s considerable success, those urban stresses are ever-present in \u003cem>The Big Chang Theory\u003c/em>, whose opener “Victim,” featuring OMB Peezy, indicts police brutality against the black community.\u003c/p>\n\u003cp>“I’ve witnessed police brutality in my younger years, and I’ve witnessed police brutality this year—me being Nef the Pharaoh,” he says, adding that success doesn’t insulate him from the realities of racism in America. “I just want the world to know that even though I’m here and I’m able to maintain this lifestyle, the flashy objects, I’m woke. I still know what’s going on. And they still hate me just like you. I’m still a product of my environment.”\u003c/p>\n\u003cfigure id=\"attachment_13838176\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838176 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6703-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On his new album, ‘The Big Chang Theory,’ Nef the Pharaoh candidly addresses police brutality against the black community. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The conversation turns to Stephon Clark, the unarmed 22-year-old murdered by Sacramento police in his grandmother’s backyard in May, leaving behind his girlfriend and two young kids. “I actually smoked with him a few times in my adolescence,” Nef says—and then, conscious of the ways the media often demonizes victims of violent crimes when they’re black, clarifies, “Even though I’m saying I smoked marijuana with the dude, he wasn’t a bad person.”\u003c/p>\n\u003cp>On “Victim,” Nef calls out racism in the criminal justice system without mincing words: “That’s why I hate the police / And I raise my son to / Baby, we got melanin / That’s why they wanna hunt you,” he rhymes over an airy beat that manages to sound wistful despite its subterranean bass and distinctive Bay Area bounce.\u003c/p>\n\u003cp>With the track, Nef makes poetry out of that pain and fear, but he’s also pragmatic. He brings up the fact that officers rarely face legal consequences for killing unarmed citizens, and explains the need for greater accountability. “Some cops have a whole background history of being racist; they have a whole background issue of mental illnesses,” Nef says. “One thing might trigger their mental illness and next thing you know, he’s beating this man senseless or he just shot this man for no reason. They should really be evaluated deeper than they are; they should go through more training than they are.”\u003c/p>\n\u003cp>Amid the many highly publicized police shootings in recent years, Clark’s killing hit particularly close to home to Nef as a young father, he explains. “Even though me and my son’s mom aren’t together, we always talk about how fathers or young parents get taken away from their kids and how much that would hurt,” says Nef, who is 23.\u003c/p>\n\u003cfigure id=\"attachment_13838175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838175 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6700-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“I come here and get a peace of mind. All you hear is the highways, and you see the stars.” \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef’s \u003ca href=\"https://twitter.com/gmeline/status/934689530338197505\" target=\"_blank\" rel=\"noopener\">four-year-old son\u003c/a>, whom he co-parents with his ex, is a huge part of his life. Baby Nef was a newborn when “Big Tymin’” started to blow up on YouTube. Navigating newfound fame, financial success and fatherhood made Nef grow up quickly, and he looks back on that turbulent period as a major life lesson. “That was a dope time in my life,” Nef says. “But me being young and on the road fucked up my relationship with his mom. I was a young adolescent; I just let the road get in the way of what was more important, relationship-wise. We’re still not together, but it is what it is. I just gotta be a man and take care of my family.”\u003c/p>\n\u003cp>The demands of fatherhood called for more income, and more income meant more touring and being away from home. After a pensive pause, he raises his voice passionately to talk about the often-overlooked mental health consequences of being a traveling musician. “Man! Depression, anxiety,” he exclaims. “A lot of shit that rappers don’t talk about, or a lot of rappers try to cover it with this big Xanax epidemic.”\u003c/p>\n\u003cp>He mentions Lil Peep, who died of an opioid overdose in 2017. “I just see my peers—this anxiety and depression that we go through, being young and on this road by ourselves—feeling like we have no one to talk to can eat you alive,” Nef says, adding that he once had a Xanax prescription for anxiety and stopped taking the drug because it made him feel like a “robot” and a “zombie.” “I saw that early on and I vowed to myself that I wasn’t going to be one of those rappers.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>eyond its downcast opening track, Nef’s attitude throughout \u003cem>The Big Chang Theory\u003c/em> is celebratory yet defiant—of racist institutions, the law, poverty, stereotypes. The project’s bonafide club banger is the rapidfire “\u003ca href=\"https://youtu.be/b8aONPFZ2xs\" target=\"_blank\" rel=\"noopener\">86\u003c/a>” featuring ALLBLACK and Cuban Doll (who’s shaping up to be a next-generation Trina with her mix of pretty and gangster). On it, the trio spits venom about getting booted out of a club to an adrenaline-inducing, double-time beat with a gritty, Bay-meets-Detroit funk.\u003c/p>\n\u003cfigure id=\"attachment_13838174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838174 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6692-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Balancing fun, toughness and honest reflection, ‘The Big Chang Theory’ is a compelling snapshot of Nef the Pharaoh’s life. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the album, Nef does plenty of punchline-oriented flexing, but \u003cem>The Big Chang Theory\u003c/em> also goes deep into his real-life struggles—being a young dad, escaping poverty by virtue of his talents, navigating the pitfalls of fame. With Hercules’ DTB and Sacramento’s Juneonnabeat as producers, the project positions Nef as an heir to Northern California’s mobb music sound—which his mentor, E-40, helped pioneer in the ’80s and ’90s.\u003c/p>\n\u003cp>That balance of fun, toughness and honest reflection throughout \u003cem>The Big Chang Theory\u003c/em> gives Nef a chameleon-like quality, appealing to suburban kids and those from the hood alike. He sounds just as natural on a love song with silky-voiced Dej Loaf (“What We Have”) as he does on his recent mixtape with 03 Greedo, the L.A. rapper who recently went to prison on a 20-year sentence for trafficking meth.\u003c/p>\n\u003cp>But as much as Nef chases success, broad appeal comes with a price, and he remains wary of fame. “Knock Down a Fan” is a warning to hangers-on with bad intentions—a testament to the lessons he’s learned on tour.\u003c/p>\n\u003cp>“Now I know how to be prepared for the road more: keep my dick in my pants,” Nef says. “Even though I’m single, it’s not safe, gambling with life. I could have another baby. I could catch an STD. Everybody’s gonna come up to you with a smile, but they’re not going to show you the jealousy and envy. The demons that’s holding the sides of them cheeks up—those are invisible.”\u003c/p>\n\u003cfigure id=\"attachment_13838178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838178 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6717-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wariness of fame and life on the road is a major theme in Nef the Pharaoh’s latest music. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef the Pharaoh has always been precocious. He knew he wanted to be a rapper after winning a talent contest at four years old, and later dropped out of high school in Sacramento to pursue his dream. (He comes from a musical family: his uncle was a member of the pioneering Chicano rap group Funky Aztecs). On one of his early features, on Corn’s “\u003ca href=\"https://youtu.be/XWDDenNx0Y0\" target=\"_blank\" rel=\"noopener\">Old School Hyphy\u003c/a>,” he brags about out-earning his teachers via the streets.\u003c/p>\n\u003cp>Now, he’s focused on building wealth that will weather the ups and downs of the notoriously fickle music industry. Like E-40, who preaches the value of persistence and diversifying one’s income, Nef is slowly building his business empire and a better future for his son.\u003c/p>\n\u003cp>“If I get something, it’s going to be land, a vehicle—something that’s going to last me long-term that I can invest in,” he says, mentioning his brand of pre-rolled joints, called Pharaohs, that he sells at cannabis clubs across the Bay Area. He’s also working on his own weed strain, called Chang’s Hii Chew (named after the Japanese candy), and is starting a French bulldog-breeding business on the ranch with his dad.\u003c/p>\n\u003cp>Nef is also writing a cartoon that he hopes to pitch to Adult Swim. And his own label, KILFMB (Keep it Lit for My Brothers, a motto for living life to the fullest in honor of those who’ve passed), is also on the rise: his first signee, OMB Peezy, has been gaining national attention for his Sacramento-by-way-of-Alabama swag in recent years. The two of them will hit the road with E-40 later this month for the \u003ca href=\"https://twitter.com/E40/status/1019181904828874753\" target=\"_blank\" rel=\"noopener\">Gift of Gab tour\u003c/a>, which Nef plans to follow up with a tour of his own.\u003c/p>\n\u003cp>Nef says goodbye to his grandfather, who’s inside watching the news at high volume with no air conditioning. It’s time to escape the unforgiving Vacaville heat, he says, and go back to the condo to finish binge-watching the new season of \u003cem>Orange is the New Black\u003c/em>. He’s savoring his days off before hitting the road again for several weeks.\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>“After this album drops, it’s foot on the gas,” he says, determined, and hops in his Mercedes to cruise down the desolate country highway.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13838218/on-the-ranch-with-nef-the-pharaoh",
"authors": [
"11387"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_5397",
"arts_1118",
"arts_831",
"arts_5849",
"arts_3420",
"arts_596",
"arts_974",
"arts_3800"
],
"featImg": "arts_13838234",
"label": "arts"
},
"arts_13838207": {
"type": "posts",
"id": "arts_13838207",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13838207",
"score": null,
"sort": [
1533387628000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1533387628,
"format": "audio",
"title": "'Art out of Ashes' Pulls Beauty and Sympathy Out of a Post-Apocalyptic Landscape",
"headTitle": "‘Art out of Ashes’ Pulls Beauty and Sympathy Out of a Post-Apocalyptic Landscape | KQED",
"content": "\u003cp>“The whole scene was so surreal,” says commercial photographer \u003ca href=\"https://www.scottmaddernphotography.com/Art-Out-Of-Ashes\" target=\"_blank\" rel=\"noopener\">Scott Maddern\u003c/a>, of his trips to photograph the areas torched by the North Bay fires of 2017. “Wherever you go to these places, you see a chimney and you see a car. Everything else is leveled.”\u003c/p>\n\u003cp>More than 30 of the photographs he took will go on exhibit at the \u003ca href=\"https://peninsulamuseum.org/exhibits/art-out-ashes\" target=\"_blank\" rel=\"noopener\">Peninsula Museum of Art\u003c/a> in Burlingame August 8. \u003ca href=\"https://www.artoutofashes.org\" target=\"_blank\" rel=\"noopener\">\u003cem>Art out of Ashes\u003c/em>\u003c/a>, with its grimly beautiful images, seeks to highlight the damage wildfires can do in California, and to remind us survivors are still struggling to recover.\u003c/p>\n\u003cp>The exhibition is also a direct nod to the great Bay Area photographer \u003ca href=\"https://www.kqed.org/arts/73138/1991_richard_misrachs_vision_of_the_oaklandberkeley_fire\" target=\"_blank\" rel=\"noopener\">Richard Misrach\u003c/a>, who famously shot haunting portraits of what was left after the Oakland Firestorm of 1991.\u003c/p>\n\u003cp>Driving through the recently cleared streets of Oakland and Berkeley, Misrach shot image of melted and charred fragments that implied poignant narratives beyond the frame. The large, detailed prints inspired contemplation, urging us not to forget the history. “Photographs change their meaning over time,” Misrach said in a \u003ca href=\"https://www.youtube.com/watch?v=zl4H4YE2X-s\" target=\"_blank\" rel=\"noopener\">gallery talk\u003c/a> about the series seven years ago.\u003c/p>\n\u003cfigure id=\"attachment_13838227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838227\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-800x533.jpg\" alt=\"The wreckage from a burnt out vintage Chevy encapsulates what was lost in the Wine Country wildfires of 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The wreckage from a burnt out vintage Chevy encapsulates what was lost in the Wine Country wildfires of 2017. \u003ccite>(Photo: Courtesy of Scott Maddern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s what inspired Bay Area businessman Russell Hyzen to come up with a similar concept for the North Bay. He contacted Maddern, and even provided lighting support as the two wandered through destroyed neighborhoods, looking for cars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You know, I’m a car guy,” says Hyzen. “I went up there and looked at the landscape and noticed these cars, and that’s when it hit me.” Images this striking, he thought, could help raise money for fire survivors in the North Bay.\u003c/p>\n\u003cp>“A lot of these disasters, you know, when they’re over, people forget and they’re on to the next thing,” Hyzen says, adding w\u003cspan style=\"font-weight: 400\">ildfires are becoming such a common occurrence in California, it’s easy to lose track of the ones that passed. \u003c/span>\u003c/p>\n\u003cp>“The rebuilding and the need lasts so long, but the media attention goes away very quickly, because of the world we live in,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13838229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-800x533.jpg\" alt=\"The wreckage from a burnt out vintage Harley Davidson encapsulates what was lost in the Wine Country wildfires of 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The wreckage from a burnt out vintage Harley Davidson encapsulates what was lost in the Wine Country wildfires of 2017. \u003ccite>(Photo: Courtesy of Scott Maddern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hyzen lives in the Oakland Hills now. “You know, I’ve heard all these stories over the years about what [neighbors] went through in the fires.”\u003c/p>\n\u003cp>He used to live in Glen Ellen. “Many of my neighbors’ homes right around there burnt down, and then one of my very, very close friends lost his house. All these personal threads in my life kinda motivated me to, you know, help and give back,” Hyzen says.\u003c/p>\n\u003cp>Profits from sales of the prints, a companion coffee table book and fundraisers are promised to the \u003ca href=\"http://www.sonomacf.org/sonoma-county-resilience-fund/\" target=\"_blank\" rel=\"noopener\">Sonoma County Resilience Fund\u003c/a>. Hyzen says it appealed quite simply because it’s the only fund dedicated to the community’s mid- to long-term recovery needs. “Everything over the hard costs like printing the photos,” Hyzen vows, will go to the fund.\u003c/p>\n\u003cp>Caitlin Childs, Director of Communications at Community Foundation Sonoma County, which runs the Resilience Fund, says she’s been in conversation with Hyzen. So far, she says, the fund has raised more than $14 million from a wide and heartening variety of initiatives launched to help fire survivors. We have not forgotten.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Art out of Ashes\u003c/strong> runs August 8-12, 2018 at the Peninsula Museum of Art in Burlingame. More information \u003ca href=\"https://peninsulamuseum.org/exhibits/art-out-ashes\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 630,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705027417,
"excerpt": "Art out of Ashes aims to raise awareness and funds for the rebuilding effort that continues in the North Bay after the wildfires last fall. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Art out of Ashes aims to raise awareness and funds for the rebuilding effort that continues in the North Bay after the wildfires last fall. ",
"title": "'Art out of Ashes' Pulls Beauty and Sympathy Out of a Post-Apocalyptic Landscape | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Art out of Ashes' Pulls Beauty and Sympathy Out of a Post-Apocalyptic Landscape",
"datePublished": "2018-08-04T06:00:28-07:00",
"dateModified": "2024-01-11T18:43:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "art-out-of-ashes-pulls-beauty-sympathy-out-of-a-post-apocalyptic-landscape",
"status": "publish",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2018/08/myrowfireart.mp3",
"sticky": false,
"path": "/arts/13838207/art-out-of-ashes-pulls-beauty-sympathy-out-of-a-post-apocalyptic-landscape",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The whole scene was so surreal,” says commercial photographer \u003ca href=\"https://www.scottmaddernphotography.com/Art-Out-Of-Ashes\" target=\"_blank\" rel=\"noopener\">Scott Maddern\u003c/a>, of his trips to photograph the areas torched by the North Bay fires of 2017. “Wherever you go to these places, you see a chimney and you see a car. Everything else is leveled.”\u003c/p>\n\u003cp>More than 30 of the photographs he took will go on exhibit at the \u003ca href=\"https://peninsulamuseum.org/exhibits/art-out-ashes\" target=\"_blank\" rel=\"noopener\">Peninsula Museum of Art\u003c/a> in Burlingame August 8. \u003ca href=\"https://www.artoutofashes.org\" target=\"_blank\" rel=\"noopener\">\u003cem>Art out of Ashes\u003c/em>\u003c/a>, with its grimly beautiful images, seeks to highlight the damage wildfires can do in California, and to remind us survivors are still struggling to recover.\u003c/p>\n\u003cp>The exhibition is also a direct nod to the great Bay Area photographer \u003ca href=\"https://www.kqed.org/arts/73138/1991_richard_misrachs_vision_of_the_oaklandberkeley_fire\" target=\"_blank\" rel=\"noopener\">Richard Misrach\u003c/a>, who famously shot haunting portraits of what was left after the Oakland Firestorm of 1991.\u003c/p>\n\u003cp>Driving through the recently cleared streets of Oakland and Berkeley, Misrach shot image of melted and charred fragments that implied poignant narratives beyond the frame. The large, detailed prints inspired contemplation, urging us not to forget the history. “Photographs change their meaning over time,” Misrach said in a \u003ca href=\"https://www.youtube.com/watch?v=zl4H4YE2X-s\" target=\"_blank\" rel=\"noopener\">gallery talk\u003c/a> about the series seven years ago.\u003c/p>\n\u003cfigure id=\"attachment_13838227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838227\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-800x533.jpg\" alt=\"The wreckage from a burnt out vintage Chevy encapsulates what was lost in the Wine Country wildfires of 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32185_1928-to-1929-Chevy-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The wreckage from a burnt out vintage Chevy encapsulates what was lost in the Wine Country wildfires of 2017. \u003ccite>(Photo: Courtesy of Scott Maddern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s what inspired Bay Area businessman Russell Hyzen to come up with a similar concept for the North Bay. He contacted Maddern, and even provided lighting support as the two wandered through destroyed neighborhoods, looking for cars.\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>“You know, I’m a car guy,” says Hyzen. “I went up there and looked at the landscape and noticed these cars, and that’s when it hit me.” Images this striking, he thought, could help raise money for fire survivors in the North Bay.\u003c/p>\n\u003cp>“A lot of these disasters, you know, when they’re over, people forget and they’re on to the next thing,” Hyzen says, adding w\u003cspan style=\"font-weight: 400\">ildfires are becoming such a common occurrence in California, it’s easy to lose track of the ones that passed. \u003c/span>\u003c/p>\n\u003cp>“The rebuilding and the need lasts so long, but the media attention goes away very quickly, because of the world we live in,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13838229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-800x533.jpg\" alt=\"The wreckage from a burnt out vintage Harley Davidson encapsulates what was lost in the Wine Country wildfires of 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32186_1950s-or-1960s-Harley-Davidson-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The wreckage from a burnt out vintage Harley Davidson encapsulates what was lost in the Wine Country wildfires of 2017. \u003ccite>(Photo: Courtesy of Scott Maddern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hyzen lives in the Oakland Hills now. “You know, I’ve heard all these stories over the years about what [neighbors] went through in the fires.”\u003c/p>\n\u003cp>He used to live in Glen Ellen. “Many of my neighbors’ homes right around there burnt down, and then one of my very, very close friends lost his house. All these personal threads in my life kinda motivated me to, you know, help and give back,” Hyzen says.\u003c/p>\n\u003cp>Profits from sales of the prints, a companion coffee table book and fundraisers are promised to the \u003ca href=\"http://www.sonomacf.org/sonoma-county-resilience-fund/\" target=\"_blank\" rel=\"noopener\">Sonoma County Resilience Fund\u003c/a>. Hyzen says it appealed quite simply because it’s the only fund dedicated to the community’s mid- to long-term recovery needs. “Everything over the hard costs like printing the photos,” Hyzen vows, will go to the fund.\u003c/p>\n\u003cp>Caitlin Childs, Director of Communications at Community Foundation Sonoma County, which runs the Resilience Fund, says she’s been in conversation with Hyzen. So far, she says, the fund has raised more than $14 million from a wide and heartening variety of initiatives launched to help fire survivors. We have not forgotten.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Art out of Ashes\u003c/strong> runs August 8-12, 2018 at the Peninsula Museum of Art in Burlingame. More information \u003ca href=\"https://peninsulamuseum.org/exhibits/art-out-ashes\" 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/13838207/art-out-of-ashes-pulls-beauty-sympathy-out-of-a-post-apocalyptic-landscape",
"authors": [
"251"
],
"categories": [
"arts_1",
"arts_235"
],
"tags": [
"arts_5400",
"arts_1118",
"arts_3648",
"arts_596",
"arts_4642",
"arts_2721"
],
"featImg": "arts_13838228",
"label": "arts"
},
"arts_13838086": {
"type": "posts",
"id": "arts_13838086",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13838086",
"score": null,
"sort": [
1533076202000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1533076202,
"format": "image",
"title": "The Brothers Comatose's Trade Deal with China: Bluegrass",
"headTitle": "The Brothers Comatose’s Trade Deal with China: Bluegrass | KQED",
"content": "\u003cp class=\"p1\">\u003cspan class=\"s1\">At his inauguration, Donald Trump stated that the American government\u003c/span> \u003cspan class=\"s1\">“will seek friendship and goodwill with the nations of the world—but we do so with the understanding that it is the right of all nations to put their own interests first.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Exactly one year later, the federal government was on the brink of a shutdown—a fact Bay Area band \u003ca href=\"http://www.thebrotherscomatose.com/\" target=\"_blank\" rel=\"noopener\">The Brothers Comatose\u003c/a> only learned \u003c/span>\u003cspan class=\"s1\">the night before they left on a three week tour of China sponsored by the \u003ca href=\"https://eca.state.gov/about-bureau\" target=\"_blank\" rel=\"noopener\">U.S. State Department Bureau of Educational and Cultural Affairs\u003c/a>\u003c/span> \u003cspan class=\"s1\">(ECA). They were told that if the shutdown went into effect—and it did—U.S. State Department officials in China would be legally unable to meet them. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“We [were] freaking out,” says Ben Morrison, who started the 5-piece band in 2008 with his brother Alex. “I mean, we show up dead of night on an airplane, don’t know where we’re going, don’t know any of the language whatsoever, how to get around, or where we’re supposed to be.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The program, called \u003ca href=\"http://amvoices.org/ama/\" target=\"_blank\" rel=\"noopener\">American Music Abroad \u003c/a>\u003c/span>\u003cspan class=\"s1\">(AMA) in its current iteration, is rooted in an effort from the 1950s to show a more appealing version of America than what may have reached the program’s targeted countries. In the early days it was all jazz: Dizzy Gillespie in Pakistan, Louis Armstrong in Egypt, Dave Brubeck in Iraq. You may have seen the \u003ca href=\"https://www.nytimes.com/2008/06/29/arts/music/29kapl.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">pictures\u003c/a>.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13838094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-800x533.jpg\" alt=\"The Brothers Comatose perform at the Shenyang Mall.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Brothers Comatose perform at the Shenyang Mall. \u003ccite>(Mickey Davis/American Music Abroad Program)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Today it is administered via grant funding by the nonprofit \u003ca href=\"http://americanvoices.org/\" target=\"_blank\" rel=\"noopener\">American Voices \u003c/a>\u003c/span>\u003cspan class=\"s1\">(AV). Each of AV’s many similar projects uses music “as a tool for greater cultural dialogue,” program manager Mickey Davis told me by phone. With AMA, the goal is to deepen cross-cultural communication and collaboration through music, especially in those places least likely to have access to American popular music.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">At first, this was discordant to me. President Trump’s “America First” foreign policy has been the impetus for withdrawing from \u003ca href=\"http://fortune.com/2018/04/18/trump-tpp-withdrawal-rejoin/\" target=\"_blank\" rel=\"noopener\">trade\u003c/a>\u003c/span>\u003cspan class=\"s3\"> \u003c/span>\u003cspan class=\"s1\">and \u003ca href=\"https://www.reuters.com/article/us-un-climate-usa-paris/u-s-submits-formal-notice-of-withdrawal-from-paris-climate-pact-idUSKBN1AK2FM\" target=\"_blank\" rel=\"noopener\">climate\u003c/a> agreements;\u003c/span>\u003cspan class=\"s1\"> instituting a \u003ca href=\"https://www.nytimes.com/2018/06/26/us/politics/supreme-court-trump-travel-ban.html\" target=\"_blank\" rel=\"noopener\">travel ban\u003c/a> on majority-Muslim nations;\u003c/span>\u003cspan class=\"s2\"> \u003c/span>\u003cspan class=\"s1\">and implementing a \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener\">zero-tolerance border policy\u003c/a> that has left more than 2,000 children separated\u003c/span> \u003cspan class=\"s1\">from their parents\u003c/span>\u003cspan class=\"s1\">.\u003cspan class=\"Apple-converted-space\"> \u003c/span>It’s been used to \u003ca href=\"https://www.kqed.org/news/11660547/analysis-in-trumps-twitter-feed-a-tale-of-sound-and-fury\" target=\"_blank\" rel=\"noopener\">alienate close allies\u003c/a>\u003c/span> \u003cspan class=\"s1\">and make bullish \u003ca href=\"https://twitter.com/realdonaldtrump/status/948355557022420992?lang=en\" target=\"_blank\" rel=\"noopener\">threats\u003c/a> of nuclear annihilation\u003c/span>\u003cspan class=\"s1\">. Most recently, it has fueled the opening shots of a \u003ca href=\"https://www.cfr.org/timeline/us-relations-china\" target=\"_blank\" rel=\"noopener\">trade war with China\u003c/a>, as tariffs have been placed on $84 billion worth of Chinese imports, ironically, at least partially in retaliation for China’s own version of America First, the \u003ca href=\"https://www.washingtonpost.com/news/monkey-cage/wp/2018/05/03/what-is-made-in-china-2025-and-why-is-it-a-threat-to-trumps-trade-goals/?utm_term=.412bb8fe4868\" target=\"_blank\" rel=\"noopener\">Made in China 2025\u003c/a> initiative.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">If our foreign policy has become about isolating ourselves and breaking connections, how did a rowdy, shaggy-haired, mustachioed, skinny jean- and trucker–hat-wearing, Trump-disapproving, crowd-pleasing bluegrass band—so adept at winning over audiences and making friends—come to represent America? How did they feel about it? And can individual connections overwrite the divisive actions of governments?\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/QlnYhZuC7js\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Hundreds of bands apply to AMA each year. Fifty are invited to audition in person. Ten to fifteen are selected. The finalists then fly to Washington D.C. for two to three days of training in representing America abroad before heading off on their tour. American Voices works as liaison between the embassies, local partners and the bands. “The public-facing diplomacy is really this people-to-people connection,” says Davis.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Liaoning province, the Brothers’ first stop, is northeast of Beijing, bordering North Korea. The January weather in \u003c/span>\u003cspan class=\"s4\">Changchun and\u003c/span> \u003cspan class=\"s1\">Shenyang was bitterly cold, regularly reaching lows of negative 20 degrees Fahrenheit. This was an utter shock to the system for Morrison. “I grew up in the Bay Area. I’ve never felt anything like that in my entire life,” he says. “I couldn’t function at all.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Once they’d been advised of restrictions on freedom of expression and possible infiltration of electronic devices, Chinese officials required the Brothers to submit the lyrics and recordings of each song they’d play on this leg of the tour, as well as transcripts of everything they planned to say in between songs at their official shows. (The officials denied two songs without providing an explanation: “\u003ca href=\"https://www.youtube.com/watch?v=2PLSYNP_vzQ\" target=\"_blank\" rel=\"noopener\">Angeline\u003c/a>” \u003c/span>\u003cspan class=\"s1\">and “\u003ca href=\"https://www.youtube.com/watch?v=4XD9p1_3XKM\" target=\"_blank\" rel=\"noopener\">The Way The West Was Won\u003c/a>.”)\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Luckily, those officials also stepped up when the American government shutdown stranded the Brothers. Chinese officials greeted them at the airport, and guided the band through their itinerary for the first few days until the U.S. government shifted back into action.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The affable band, referred to as cowboys by onlookers, say they were greeted warmly and with curiosity wherever they went. The Brothers, for their part, were ready for anything. “We were eating bugs, and scorpions, and worms, and pig brain, rooster beak and all sorts of odd and sometimes delicious stuff,” Morrison tells me. “Going in with a sense of adventure was important to us.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Collaborative performances were a key part of the trip; they were where the Brothers were able to foster a deeper sense of cultural exchange. Here, Morrison experienced a second form of culture shock, this one musical. Where improvisation, adherence to specific time signatures and three-part harmonies surprised and confused their Chinese counterparts, the lack of these elements surprised the Brothers. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“There’s a song called ‘Lotus Flower,'” \u003c/span>\u003cspan class=\"s1\">Morrison says. “It’s a traditional Chinese song. It’s beautiful, absolutely gorgeous. We played it with three different people, and it was three different animals, just the timing and the flow of how it went. We just couldn’t figure it out or follow along.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">To explain this, the bandmates were told that\u003cspan class=\"Apple-converted-space\"> \u003c/span>“music flows like nature flows,” Morrison recalls. “There’s all different sizes of lotus flowers out in nature. So the song, it changes. It can change like nature can change. I’ve never thought of anything like that before.”\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/UAR6vSDLinE\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The Brothers Comatose’s second stop was much further south, in Yunan Province. The band visited Kunming and smaller surrounding towns, playing, collaborating and experiencing vast cultural differences while seeking common threads. A \u003ca href=\"https://www.ergengtv.com/video/8183.html\" target=\"_blank\" rel=\"noopener\">mini-documentary \u003c/a>\u003c/span>\u003cspan class=\"s1\">made in Kunming shows smiling faces jumping, bobbing and dancing around campfires. In it, bassist Gio Benedetti says, “I couldn’t talk to anybody, but we could play music and dance and have a good time. I feel like that was the best example of our musical cultures coming together.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Both the Bureau of Educational and Cultural Affairs and American Voices diplomatically declined to answer foreign policy questions outright. Jay Raman, director of cultural programs at ECA says the program will “continue building enduring partnerships that improve foreign relations and strengthen the national security of the United States.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13838092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838092\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-800x533.jpg\" alt=\"The Brothers Comatose perform on the street in Kunming, China. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Brothers Comatose perform on the street in Kunming, China. \u003ccite>(Mickey Davis/American Music Abroad Program)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">AV program manager Davis, who also worked as the Brothers’ tour manager in China, sees it on a more personal level. “There’s a lot to be said for the power of music\u003cspan class=\"Apple-converted-space\"> \u003c/span>and the power of leading with music. There’s a sort of bond that’s created through playing music together or sharing music that can then lead to more larger cultural conversations. That doesn’t necessarily always happen, but when it does it’s done in a way that’s organic and open.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Morrison related another moment that made a lasting impression on the Brothers, this one around a song called “\u003ca href=\"https://www.youtube.com/watch?v=OfoN8gjMBy8\" target=\"_blank\" rel=\"noopener\">Horse Race\u003c/a>.” \u003c/span>\u003cspan class=\"s1\">An ancient Chinese melody, the song bears incredible resemblance to Celtic, Scottish and early folk tunes that form part of the musical foundation for bluegrass.\u003cspan class=\"Apple-converted-space\"> \u003c/span>“We were able to jump in with [the player], and it was this really pumping awesome fiddle song all of a sudden,” he says. “This song is a couple thousand years old and played on this \u003ca href=\"https://en.wikipedia.org/wiki/Erhu\" target=\"_blank\" rel=\"noopener\">erhu\u003c/a>, [a traditional Chinese string instrument,] \u003c/span>\u003cspan class=\"s1\">and yet we’re able to come together and create this piece of music that is familiar to us and familiar to them.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Last month, celebrating 10 years as a band at The Fillmore, The Brothers Comatose invited master erhu player \u003ca href=\"https://www.jiebingchen.com/\" target=\"_blank\" rel=\"noopener\">Jiebing Chen\u003c/a>\u003c/span>\u003cspan class=\"s1\"> on stage to perform bluegrass versions of both “Horse Race” and “Lotus Flower.”\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/u6wVtrJBBFo\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">At the end of the day, how did it feel to represent America in this tense political moment? Morrison has only good things to say. On the trip to China, music was a way to connect outside of politics. What’s more, he says, “It was a really freeing sort of feeling. It’s hard to not feel helpless here at home unless you’re on the ground [engaged in] grassroots efforts to change things, but you know, we’re touring musicians. We have a different path. For us, we get to go communicate with people in a different sort of way, play music with people and show people that Americans aren’t total assholes.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">As Benedetti says in the documentary, “If the two styles want to come together and have it feel cohesive, I think each side needs to, to change their expectations a little bit to be able to meet in the middle.” The two governments would do well to keep this in mind as tensions continue to rise on the geopolitical landscape.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12127869 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp class=\"p1\">\u003cem>\u003cspan class=\"s1\">The Brothers Comatose headline the \u003ca href=\"https://petalumamusicfestival.org/\" target=\"_blank\" rel=\"noopener\">Petaluma Music Festival\u003c/a>\u003c/span> on \u003cspan class=\"s1\">Saturday, Aug. 4. They’re set to travel with\u003c/span>\u003cspan class=\"s1\"> AMA again in the 2018-19 program, along with Bay Area band The T-Sisters.\u003c/span>\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1684,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 3
},
"modified": 1705027425,
"excerpt": "The San Francisco band went on a U.S. government-sponsored tour of China at a time of tense international relations—and emerged with a deeper understanding of cultural exchange. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The San Francisco band went on a U.S. government-sponsored tour of China at a time of tense international relations—and emerged with a deeper understanding of cultural exchange. ",
"title": "The Brothers Comatose's Trade Deal with China: Bluegrass | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Brothers Comatose's Trade Deal with China: Bluegrass",
"datePublished": "2018-07-31T15:30:02-07:00",
"dateModified": "2024-01-11T18:43:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-brothers-comatoses-trade-deal-with-china-bluegrass",
"status": "publish",
"nprByline": "Annie Bacon",
"sticky": false,
"path": "/arts/13838086/the-brothers-comatoses-trade-deal-with-china-bluegrass",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">At his inauguration, Donald Trump stated that the American government\u003c/span> \u003cspan class=\"s1\">“will seek friendship and goodwill with the nations of the world—but we do so with the understanding that it is the right of all nations to put their own interests first.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Exactly one year later, the federal government was on the brink of a shutdown—a fact Bay Area band \u003ca href=\"http://www.thebrotherscomatose.com/\" target=\"_blank\" rel=\"noopener\">The Brothers Comatose\u003c/a> only learned \u003c/span>\u003cspan class=\"s1\">the night before they left on a three week tour of China sponsored by the \u003ca href=\"https://eca.state.gov/about-bureau\" target=\"_blank\" rel=\"noopener\">U.S. State Department Bureau of Educational and Cultural Affairs\u003c/a>\u003c/span> \u003cspan class=\"s1\">(ECA). They were told that if the shutdown went into effect—and it did—U.S. State Department officials in China would be legally unable to meet them. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“We [were] freaking out,” says Ben Morrison, who started the 5-piece band in 2008 with his brother Alex. “I mean, we show up dead of night on an airplane, don’t know where we’re going, don’t know any of the language whatsoever, how to get around, or where we’re supposed to be.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The program, called \u003ca href=\"http://amvoices.org/ama/\" target=\"_blank\" rel=\"noopener\">American Music Abroad \u003c/a>\u003c/span>\u003cspan class=\"s1\">(AMA) in its current iteration, is rooted in an effort from the 1950s to show a more appealing version of America than what may have reached the program’s targeted countries. In the early days it was all jazz: Dizzy Gillespie in Pakistan, Louis Armstrong in Egypt, Dave Brubeck in Iraq. You may have seen the \u003ca href=\"https://www.nytimes.com/2008/06/29/arts/music/29kapl.html?pagewanted=all\" target=\"_blank\" rel=\"noopener\">pictures\u003c/a>.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13838094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-800x533.jpg\" alt=\"The Brothers Comatose perform at the Shenyang Mall.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shenyang-Mall-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Brothers Comatose perform at the Shenyang Mall. \u003ccite>(Mickey Davis/American Music Abroad Program)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Today it is administered via grant funding by the nonprofit \u003ca href=\"http://americanvoices.org/\" target=\"_blank\" rel=\"noopener\">American Voices \u003c/a>\u003c/span>\u003cspan class=\"s1\">(AV). Each of AV’s many similar projects uses music “as a tool for greater cultural dialogue,” program manager Mickey Davis told me by phone. With AMA, the goal is to deepen cross-cultural communication and collaboration through music, especially in those places least likely to have access to American popular music.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">At first, this was discordant to me. President Trump’s “America First” foreign policy has been the impetus for withdrawing from \u003ca href=\"http://fortune.com/2018/04/18/trump-tpp-withdrawal-rejoin/\" target=\"_blank\" rel=\"noopener\">trade\u003c/a>\u003c/span>\u003cspan class=\"s3\"> \u003c/span>\u003cspan class=\"s1\">and \u003ca href=\"https://www.reuters.com/article/us-un-climate-usa-paris/u-s-submits-formal-notice-of-withdrawal-from-paris-climate-pact-idUSKBN1AK2FM\" target=\"_blank\" rel=\"noopener\">climate\u003c/a> agreements;\u003c/span>\u003cspan class=\"s1\"> instituting a \u003ca href=\"https://www.nytimes.com/2018/06/26/us/politics/supreme-court-trump-travel-ban.html\" target=\"_blank\" rel=\"noopener\">travel ban\u003c/a> on majority-Muslim nations;\u003c/span>\u003cspan class=\"s2\"> \u003c/span>\u003cspan class=\"s1\">and implementing a \u003ca href=\"https://www.npr.org/2018/06/19/621065383/what-we-know-family-separation-and-zero-tolerance-at-the-border\" target=\"_blank\" rel=\"noopener\">zero-tolerance border policy\u003c/a> that has left more than 2,000 children separated\u003c/span> \u003cspan class=\"s1\">from their parents\u003c/span>\u003cspan class=\"s1\">.\u003cspan class=\"Apple-converted-space\"> \u003c/span>It’s been used to \u003ca href=\"https://www.kqed.org/news/11660547/analysis-in-trumps-twitter-feed-a-tale-of-sound-and-fury\" target=\"_blank\" rel=\"noopener\">alienate close allies\u003c/a>\u003c/span> \u003cspan class=\"s1\">and make bullish \u003ca href=\"https://twitter.com/realdonaldtrump/status/948355557022420992?lang=en\" target=\"_blank\" rel=\"noopener\">threats\u003c/a> of nuclear annihilation\u003c/span>\u003cspan class=\"s1\">. Most recently, it has fueled the opening shots of a \u003ca href=\"https://www.cfr.org/timeline/us-relations-china\" target=\"_blank\" rel=\"noopener\">trade war with China\u003c/a>, as tariffs have been placed on $84 billion worth of Chinese imports, ironically, at least partially in retaliation for China’s own version of America First, the \u003ca href=\"https://www.washingtonpost.com/news/monkey-cage/wp/2018/05/03/what-is-made-in-china-2025-and-why-is-it-a-threat-to-trumps-trade-goals/?utm_term=.412bb8fe4868\" target=\"_blank\" rel=\"noopener\">Made in China 2025\u003c/a> initiative.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">If our foreign policy has become about isolating ourselves and breaking connections, how did a rowdy, shaggy-haired, mustachioed, skinny jean- and trucker–hat-wearing, Trump-disapproving, crowd-pleasing bluegrass band—so adept at winning over audiences and making friends—come to represent America? How did they feel about it? And can individual connections overwrite the divisive actions of governments?\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QlnYhZuC7js'\n title='//www.youtube.com/embed/QlnYhZuC7js'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">Hundreds of bands apply to AMA each year. Fifty are invited to audition in person. Ten to fifteen are selected. The finalists then fly to Washington D.C. for two to three days of training in representing America abroad before heading off on their tour. American Voices works as liaison between the embassies, local partners and the bands. “The public-facing diplomacy is really this people-to-people connection,” says Davis.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Liaoning province, the Brothers’ first stop, is northeast of Beijing, bordering North Korea. The January weather in \u003c/span>\u003cspan class=\"s4\">Changchun and\u003c/span> \u003cspan class=\"s1\">Shenyang was bitterly cold, regularly reaching lows of negative 20 degrees Fahrenheit. This was an utter shock to the system for Morrison. “I grew up in the Bay Area. I’ve never felt anything like that in my entire life,” he says. “I couldn’t function at all.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Once they’d been advised of restrictions on freedom of expression and possible infiltration of electronic devices, Chinese officials required the Brothers to submit the lyrics and recordings of each song they’d play on this leg of the tour, as well as transcripts of everything they planned to say in between songs at their official shows. (The officials denied two songs without providing an explanation: “\u003ca href=\"https://www.youtube.com/watch?v=2PLSYNP_vzQ\" target=\"_blank\" rel=\"noopener\">Angeline\u003c/a>” \u003c/span>\u003cspan class=\"s1\">and “\u003ca href=\"https://www.youtube.com/watch?v=4XD9p1_3XKM\" target=\"_blank\" rel=\"noopener\">The Way The West Was Won\u003c/a>.”)\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Luckily, those officials also stepped up when the American government shutdown stranded the Brothers. Chinese officials greeted them at the airport, and guided the band through their itinerary for the first few days until the U.S. government shifted back into action.\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">The affable band, referred to as cowboys by onlookers, say they were greeted warmly and with curiosity wherever they went. The Brothers, for their part, were ready for anything. “We were eating bugs, and scorpions, and worms, and pig brain, rooster beak and all sorts of odd and sometimes delicious stuff,” Morrison tells me. “Going in with a sense of adventure was important to us.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Collaborative performances were a key part of the trip; they were where the Brothers were able to foster a deeper sense of cultural exchange. Here, Morrison experienced a second form of culture shock, this one musical. Where improvisation, adherence to specific time signatures and three-part harmonies surprised and confused their Chinese counterparts, the lack of these elements surprised the Brothers. \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“There’s a song called ‘Lotus Flower,'” \u003c/span>\u003cspan class=\"s1\">Morrison says. “It’s a traditional Chinese song. It’s beautiful, absolutely gorgeous. We played it with three different people, and it was three different animals, just the timing and the flow of how it went. We just couldn’t figure it out or follow along.” \u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">To explain this, the bandmates were told that\u003cspan class=\"Apple-converted-space\"> \u003c/span>“music flows like nature flows,” Morrison recalls. “There’s all different sizes of lotus flowers out in nature. So the song, it changes. It can change like nature can change. I’ve never thought of anything like that before.”\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UAR6vSDLinE'\n title='//www.youtube.com/embed/UAR6vSDLinE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">The Brothers Comatose’s second stop was much further south, in Yunan Province. The band visited Kunming and smaller surrounding towns, playing, collaborating and experiencing vast cultural differences while seeking common threads. A \u003ca href=\"https://www.ergengtv.com/video/8183.html\" target=\"_blank\" rel=\"noopener\">mini-documentary \u003c/a>\u003c/span>\u003cspan class=\"s1\">made in Kunming shows smiling faces jumping, bobbing and dancing around campfires. In it, bassist Gio Benedetti says, “I couldn’t talk to anybody, but we could play music and dance and have a good time. I feel like that was the best example of our musical cultures coming together.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Both the Bureau of Educational and Cultural Affairs and American Voices diplomatically declined to answer foreign policy questions outright. Jay Raman, director of cultural programs at ECA says the program will “continue building enduring partnerships that improve foreign relations and strengthen the national security of the United States.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13838092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838092\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-800x533.jpg\" alt=\"The Brothers Comatose perform on the street in Kunming, China. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Kunming-Street-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Brothers Comatose perform on the street in Kunming, China. \u003ccite>(Mickey Davis/American Music Abroad Program)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">AV program manager Davis, who also worked as the Brothers’ tour manager in China, sees it on a more personal level. “There’s a lot to be said for the power of music\u003cspan class=\"Apple-converted-space\"> \u003c/span>and the power of leading with music. There’s a sort of bond that’s created through playing music together or sharing music that can then lead to more larger cultural conversations. That doesn’t necessarily always happen, but when it does it’s done in a way that’s organic and open.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Morrison related another moment that made a lasting impression on the Brothers, this one around a song called “\u003ca href=\"https://www.youtube.com/watch?v=OfoN8gjMBy8\" target=\"_blank\" rel=\"noopener\">Horse Race\u003c/a>.” \u003c/span>\u003cspan class=\"s1\">An ancient Chinese melody, the song bears incredible resemblance to Celtic, Scottish and early folk tunes that form part of the musical foundation for bluegrass.\u003cspan class=\"Apple-converted-space\"> \u003c/span>“We were able to jump in with [the player], and it was this really pumping awesome fiddle song all of a sudden,” he says. “This song is a couple thousand years old and played on this \u003ca href=\"https://en.wikipedia.org/wiki/Erhu\" target=\"_blank\" rel=\"noopener\">erhu\u003c/a>, [a traditional Chinese string instrument,] \u003c/span>\u003cspan class=\"s1\">and yet we’re able to come together and create this piece of music that is familiar to us and familiar to them.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Last month, celebrating 10 years as a band at The Fillmore, The Brothers Comatose invited master erhu player \u003ca href=\"https://www.jiebingchen.com/\" target=\"_blank\" rel=\"noopener\">Jiebing Chen\u003c/a>\u003c/span>\u003cspan class=\"s1\"> on stage to perform bluegrass versions of both “Horse Race” and “Lotus Flower.”\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/u6wVtrJBBFo'\n title='//www.youtube.com/embed/u6wVtrJBBFo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">\u003cspan class=\"s1\">At the end of the day, how did it feel to represent America in this tense political moment? Morrison has only good things to say. On the trip to China, music was a way to connect outside of politics. What’s more, he says, “It was a really freeing sort of feeling. It’s hard to not feel helpless here at home unless you’re on the ground [engaged in] grassroots efforts to change things, but you know, we’re touring musicians. We have a different path. For us, we get to go communicate with people in a different sort of way, play music with people and show people that Americans aren’t total assholes.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">As Benedetti says in the documentary, “If the two styles want to come together and have it feel cohesive, I think each side needs to, to change their expectations a little bit to be able to meet in the middle.” The two governments would do well to keep this in mind as tensions continue to rise on the geopolitical landscape.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12127869 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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 class=\"p1\">\u003cem>\u003cspan class=\"s1\">The Brothers Comatose headline the \u003ca href=\"https://petalumamusicfestival.org/\" target=\"_blank\" rel=\"noopener\">Petaluma Music Festival\u003c/a>\u003c/span> on \u003cspan class=\"s1\">Saturday, Aug. 4. They’re set to travel with\u003c/span>\u003cspan class=\"s1\"> AMA again in the 2018-19 program, along with Bay Area band The T-Sisters.\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13838086/the-brothers-comatoses-trade-deal-with-china-bluegrass",
"authors": [
"byline_arts_13838086"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_5391",
"arts_1118",
"arts_2415",
"arts_596"
],
"featImg": "arts_13838091",
"label": "arts"
},
"arts_13838106": {
"type": "posts",
"id": "arts_13838106",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13838106",
"score": null,
"sort": [
1533068112000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1533068112,
"format": "image",
"title": "In Dreams? A Roy Orbison Hologram Comes to the Fox Theater",
"headTitle": "In Dreams? A Roy Orbison Hologram Comes to the Fox Theater | KQED",
"content": "\u003cp>Since the Tupac hologram performed at Coachella in 2012, heated debates have raged on about whether we should resurrect our favorite stars for the sake of nostalgia or leave them to rest in the afterlife.\u003c/p>\n\u003cp>When Justin Timberlake broached the idea of bringing out a Prince hologram during his 2018 Super Bowl performance, The Purple One’s longtime collaborator, Sheila E, quickly \u003ca href=\"https://consequenceofsound.net/2018/02/justin-timberlake-scraps-prince-hologram-after-speaking-to-sheila-e/\" target=\"_blank\" rel=\"noopener\">dissuaded him\u003c/a>, as Prince called the practice “demonic” in a 1998 interview. Chicago drill rapper Chief Keef (who is still alive, but banned from playing in London—where the tour kicks off—due to legal troubles) is currently gearing up for a \u003ca href=\"https://www.digitalmusicnews.com/2018/07/18/chief-keef-hologram-tour/\" target=\"_blank\" rel=\"noopener\">hologram tour\u003c/a> featuring a digital version of himself alongside Tupac, Biggie and Michael Jackson.\u003c/p>\n\u003cp>The latest hologram tour stars Roy Orbison, who died 30 years ago in 1988. The “In Dreams” singer’s hologram is slated to perform at Oakland’s \u003ca href=\"https://thefoxoakland.com/events/dreams-roy-orbison-concert\" target=\"_blank\" rel=\"noopener\">Fox Theater on Oct. 1\u003c/a>. For some fans, it’ll be a dream come true. For others, seeing Orbison in the not-quite-flesh might trigger an uncanny valley feeling.\u003c/p>\n\u003cp>The Orbison hologram is set to perform his greatest hits with a full human orchestra, and his tracks have been remastered to suit the Fox’s modern-day acoustics. The mystical-sounding marketing copy for the event from Base Hologram—eerily written as if Orbison is still alive—promises that the hologram will interact with the musicians and the audience.\u003c/p>\n\u003cp>The digitization of live music is a trend that doesn’t seem to be slowing down anytime soon: scientists are currently \u003ca href=\"https://www.kqed.org/arts/13819186/are-computers-becoming-better-at-composing-music-than-humans\" target=\"_blank\" rel=\"noopener\">developing AI\u003c/a> that may soon be able to compose pop songs on par with what we hear on the radio, and the computer-generated Instagram influencer \u003ca href=\"https://nylon.com/articles/lil-miquela-interview\" target=\"_blank\" rel=\"noopener\">Lil Miquela\u003c/a>—who was built by a tech startup and boasts 1.3 million human followers—has been releasing singles throughout the year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you’re curious about ghost Orbison and don’t mind the possibility of angering the dead, presales for his hologram tour start on Aug. 2 at 10am with the password “creed.” General admission sales begin Aug. 3.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 365,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705027428,
"excerpt": "The Oct. 1 concert features a hologram of the rock 'n' roll great performing with a live orchestra. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Oct. 1 concert features a hologram of the rock 'n' roll great performing with a live orchestra. ",
"title": "In Dreams? A Roy Orbison Hologram Comes to the Fox Theater | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In Dreams? A Roy Orbison Hologram Comes to the Fox Theater",
"datePublished": "2018-07-31T13:15:12-07:00",
"dateModified": "2024-01-11T18:43:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-dreams-a-roy-orbison-hologram-comes-to-the-fox-theater",
"status": "publish",
"sticky": false,
"path": "/arts/13838106/in-dreams-a-roy-orbison-hologram-comes-to-the-fox-theater",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since the Tupac hologram performed at Coachella in 2012, heated debates have raged on about whether we should resurrect our favorite stars for the sake of nostalgia or leave them to rest in the afterlife.\u003c/p>\n\u003cp>When Justin Timberlake broached the idea of bringing out a Prince hologram during his 2018 Super Bowl performance, The Purple One’s longtime collaborator, Sheila E, quickly \u003ca href=\"https://consequenceofsound.net/2018/02/justin-timberlake-scraps-prince-hologram-after-speaking-to-sheila-e/\" target=\"_blank\" rel=\"noopener\">dissuaded him\u003c/a>, as Prince called the practice “demonic” in a 1998 interview. Chicago drill rapper Chief Keef (who is still alive, but banned from playing in London—where the tour kicks off—due to legal troubles) is currently gearing up for a \u003ca href=\"https://www.digitalmusicnews.com/2018/07/18/chief-keef-hologram-tour/\" target=\"_blank\" rel=\"noopener\">hologram tour\u003c/a> featuring a digital version of himself alongside Tupac, Biggie and Michael Jackson.\u003c/p>\n\u003cp>The latest hologram tour stars Roy Orbison, who died 30 years ago in 1988. The “In Dreams” singer’s hologram is slated to perform at Oakland’s \u003ca href=\"https://thefoxoakland.com/events/dreams-roy-orbison-concert\" target=\"_blank\" rel=\"noopener\">Fox Theater on Oct. 1\u003c/a>. For some fans, it’ll be a dream come true. For others, seeing Orbison in the not-quite-flesh might trigger an uncanny valley feeling.\u003c/p>\n\u003cp>The Orbison hologram is set to perform his greatest hits with a full human orchestra, and his tracks have been remastered to suit the Fox’s modern-day acoustics. The mystical-sounding marketing copy for the event from Base Hologram—eerily written as if Orbison is still alive—promises that the hologram will interact with the musicians and the audience.\u003c/p>\n\u003cp>The digitization of live music is a trend that doesn’t seem to be slowing down anytime soon: scientists are currently \u003ca href=\"https://www.kqed.org/arts/13819186/are-computers-becoming-better-at-composing-music-than-humans\" target=\"_blank\" rel=\"noopener\">developing AI\u003c/a> that may soon be able to compose pop songs on par with what we hear on the radio, and the computer-generated Instagram influencer \u003ca href=\"https://nylon.com/articles/lil-miquela-interview\" target=\"_blank\" rel=\"noopener\">Lil Miquela\u003c/a>—who was built by a tech startup and boasts 1.3 million human followers—has been releasing singles throughout the year.\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>If you’re curious about ghost Orbison and don’t mind the possibility of angering the dead, presales for his hologram tour start on Aug. 2 at 10am with the password “creed.” General admission sales begin Aug. 3.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13838106/in-dreams-a-roy-orbison-hologram-comes-to-the-fox-theater",
"authors": [
"11387"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_3944",
"arts_596"
],
"featImg": "arts_13838108",
"label": "arts"
},
"arts_13838001": {
"type": "posts",
"id": "arts_13838001",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13838001",
"score": null,
"sort": [
1532975368000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1532975368,
"format": "standard",
"title": "Berkeley's Fantasy Studios to Close, Building to Be Sold",
"headTitle": "Berkeley’s Fantasy Studios to Close, Building to Be Sold | KQED",
"content": "\u003cp>Fantasy Studios, the West Berkeley recording and film studio where world-famous acts like Creedence Clearwater Revival, Green Day and Santana once laid down tracks, announced on July 27 that it will close for good on Sept. 15. The Fantasy Studios building, at 2600 10th Street, is going on the market.\u003c/p>\n\u003cp>“We wish to thank you for your patronage and for the privilege of working with you on the incredible projects you have completed at Fantasy,” an email announcement from the studio reads. “We are grateful and proud that your works of art will represent us forever. Our wonderful staff engineers and producers have freelance relationships with other studios and production spaces, and would love to continue serving you going forward.”\u003c/p>\n\u003cfigure id=\"attachment_13838032\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-800x990.jpg\" alt=\"Berkeley's Fantasy Studios once hosted clients like Creedence Clearwater Revival, Santa and Green Day. \" width=\"800\" height=\"990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-800x990.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-768x950.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-960x1188.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-240x297.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-375x464.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-520x644.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley’s Fantasy Studios once hosted clients like Creedence Clearwater Revival, Santa and Green Day. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantasy Studios was once synonymous with Fantasy Records, which began as a jazz label in San Francisco in the late 1940s with a roster that grew to include Dave Brubeck, Cal Tjader and Vince Guaraldi. Saul Zaentz and partners acquired it after the Summer of Love, in 1968. At the time the label was headquartered in Oakland, where Creedence Clearwater Revival recorded their first breakthrough single on Fantasy Records, “Suzie Q.” The band’s success put the independent label on the map, and it moved into the current 10th Street building in the early ’70s.\u003c/p>\n\u003cp>Zaentz forayed into film production in 1972 with Saul Zaentz Company, also headquartered in the 10th Street building, which became known as the Zaentz Media Center. The studio produced films such as \u003cem>One Flew Over the Cuckoo’s Next\u003c/em>, \u003cem>Amadeus\u003c/em> and \u003cem>The Unbearable Lightness of Being\u003c/em>.\u003c/p>\n\u003cp>Fantasy Records sold multiple times over the years, with Concord Music Group acquiring the label and its catalog in 2004. The label continued to lease space in the 10th Street building, which is owned by Wareham Development. Over the years, artists such as David Bowie, U2, Wilco, Lil Wayne, Mos Def, Tony Bennett, Aerosmith, Counting Crows, Country Joe McDonald and many, many others recorded at the studio. Green Day recently announced plans for an upcoming 25th anniversary tour for their 1994 breakthrough \u003cem>Dookie\u003c/em>, which was recorded in the building’s Studio A and sold over 20 million copies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wareham Development acquired the 10th Street property in 2007 for $20 million, and continued the Zaentz Media Center’s focus on the arts; the developer founded the Berkeley Film Foundation in collaboration with the Saul Zaentz Company and the City of Berkeley in 2009, and independent filmmakers, musicians and game developers have continued to use the Fantasy Studios space. In 2007, when Concord Music Group consolidated its business, Wareham Development bought the rights to the Fantasy Studios name and its equipment to preserve the studio’s legacy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That era will soon come to a close after 11 years. We’ll update this post when we learn more.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 500,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705027436,
"excerpt": "Artists like Creedence Clearwater Revival, Green Day and Santana recorded at the longtime film and recording studio.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Artists like Creedence Clearwater Revival, Green Day and Santana recorded at the longtime film and recording studio.",
"title": "Berkeley's Fantasy Studios to Close, Building to Be Sold | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Berkeley's Fantasy Studios to Close, Building to Be Sold",
"datePublished": "2018-07-30T11:29:28-07:00",
"dateModified": "2024-01-11T18:43:56-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "berkeleys-fantasy-studios-to-close-building-to-be-sold",
"status": "publish",
"sticky": false,
"path": "/arts/13838001/berkeleys-fantasy-studios-to-close-building-to-be-sold",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fantasy Studios, the West Berkeley recording and film studio where world-famous acts like Creedence Clearwater Revival, Green Day and Santana once laid down tracks, announced on July 27 that it will close for good on Sept. 15. The Fantasy Studios building, at 2600 10th Street, is going on the market.\u003c/p>\n\u003cp>“We wish to thank you for your patronage and for the privilege of working with you on the incredible projects you have completed at Fantasy,” an email announcement from the studio reads. “We are grateful and proud that your works of art will represent us forever. Our wonderful staff engineers and producers have freelance relationships with other studios and production spaces, and would love to continue serving you going forward.”\u003c/p>\n\u003cfigure id=\"attachment_13838032\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-800x990.jpg\" alt=\"Berkeley's Fantasy Studios once hosted clients like Creedence Clearwater Revival, Santa and Green Day. \" width=\"800\" height=\"990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-800x990.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-768x950.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-960x1188.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-240x297.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-375x464.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-520x644.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley’s Fantasy Studios once hosted clients like Creedence Clearwater Revival, Santa and Green Day. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantasy Studios was once synonymous with Fantasy Records, which began as a jazz label in San Francisco in the late 1940s with a roster that grew to include Dave Brubeck, Cal Tjader and Vince Guaraldi. Saul Zaentz and partners acquired it after the Summer of Love, in 1968. At the time the label was headquartered in Oakland, where Creedence Clearwater Revival recorded their first breakthrough single on Fantasy Records, “Suzie Q.” The band’s success put the independent label on the map, and it moved into the current 10th Street building in the early ’70s.\u003c/p>\n\u003cp>Zaentz forayed into film production in 1972 with Saul Zaentz Company, also headquartered in the 10th Street building, which became known as the Zaentz Media Center. The studio produced films such as \u003cem>One Flew Over the Cuckoo’s Next\u003c/em>, \u003cem>Amadeus\u003c/em> and \u003cem>The Unbearable Lightness of Being\u003c/em>.\u003c/p>\n\u003cp>Fantasy Records sold multiple times over the years, with Concord Music Group acquiring the label and its catalog in 2004. The label continued to lease space in the 10th Street building, which is owned by Wareham Development. Over the years, artists such as David Bowie, U2, Wilco, Lil Wayne, Mos Def, Tony Bennett, Aerosmith, Counting Crows, Country Joe McDonald and many, many others recorded at the studio. Green Day recently announced plans for an upcoming 25th anniversary tour for their 1994 breakthrough \u003cem>Dookie\u003c/em>, which was recorded in the building’s Studio A and sold over 20 million copies.\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>Wareham Development acquired the 10th Street property in 2007 for $20 million, and continued the Zaentz Media Center’s focus on the arts; the developer founded the Berkeley Film Foundation in collaboration with the Saul Zaentz Company and the City of Berkeley in 2009, and independent filmmakers, musicians and game developers have continued to use the Fantasy Studios space. In 2007, when Concord Music Group consolidated its business, Wareham Development bought the rights to the Fantasy Studios name and its equipment to preserve the studio’s legacy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That era will soon come to a close after 11 years. We’ll update this post when we learn more.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13838001/berkeleys-fantasy-studios-to-close-building-to-be-sold",
"authors": [
"11387"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1270",
"arts_1118",
"arts_977",
"arts_596"
],
"featImg": "arts_13838033",
"label": "arts"
},
"arts_13837870": {
"type": "posts",
"id": "arts_13837870",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13837870",
"score": null,
"sort": [
1532635065000
]
},
"guestAuthors": [],
"slug": "kennedy-center-names-its-2018-honorees",
"title": "Kennedy Center Names Its 2018 Honorees",
"publishDate": 1532635065,
"format": "standard",
"headTitle": "Kennedy Center Names Its 2018 Honorees | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The Kennedy Center annually recognizes artists who have had a uniquely wide and enduring impact on American culture. On Wednesday, the Washington, D.C. institution announced this year’s recipients of the Kennedy Center Honors: country singer \u003ca href=\"https://www.npr.org/2017/02/04/513315456/reba-mcentires-new-album-is-a-dedication-to-family-and-faith\">Reba McEntire\u003c/a>, jazz saxophonist and composer \u003ca href=\"https://www.npr.org/artists/15294444/wayne-shorter\">Wayne Shorter\u003c/a>, composer \u003ca href=\"https://www.npr.org/artists/15680178/philip-glass\">Philip Glass\u003c/a>, singer Cher, and the creative team behind the smash musical \u003ca href=\"https://www.npr.org/tags/475044603/hamilton\">\u003cem>Hamilton\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>This year’s awardees are a typically eclectic group of artists. McEntire has forty years of studio history behind her and a sitcom to boot. Along with being a progenitor of jazz fusion and a celebrated Miles Davis collaborator, Shorter is a sci-fi lover who \u003ca href=\"https://www.npr.org/2018/07/25/631999084/jazz-legend-wayne-shorter-announces-emanon-a-multiverse-inspired-triple-album\">writes comic books\u003c/a>. Glass is one of the most celebrated contemporary composers in the world, and is also a co-founder of Tibet House, a cultural institution that seeks to “ensure the survival of Tibetan civilization and culture.” Cher is, of course, an idiosyncratic and indelible pop totem (and gifted Twitter user). Her statement upon learning Wednesday’s news was typically offbeat: “When I was very young I saw \u003cem>Dumbo\u003c/em> and \u003cem>Cinderella\u003c/em> and knew then what I wanted to be and the path my life would take and here I am!”\u003c/p>\n\u003cp>The Kennedy Center is also celebrating the four-member team behind \u003cem>Hamilton\u003c/em>, one of this decade’s most striking artistic phenomenons: writer and actor \u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\">Lin-Manuel Miranda\u003c/a>, director Thomas Kail, choreographer Andy Blankenbuehler and music director Alex Lacamoire. In its announcement, the Kennedy Center calls the musical “a transformative work that defies category.”\u003c/p>\n\u003cp>“Historically, the Kennedy Center Honors has celebrated lifetime achievement,” says the organization’s president\u003cstrong>,\u003c/strong> Deborah F. Rutter\u003cstrong>,\u003c/strong> in a statement. “In recognizing \u003cem>Hamilton\u003c/em> and its co-creators, the Kennedy Center is making an unprecedented statement about an unprecedented work — a work that transcends cultural boundaries and tells America’s story in a powerful and contemporary way.”\u003c/p>\n\u003cp>Notably, the central artistic vehicle in \u003cem>Hamilton\u003c/em>, rapping, is a medium only recently inducted into the Center’s honor rolls when, last year, LL Cool J became the \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541365592/ll-cool-j-to-become-kennedy-centers-first-hip-hop-honoree\">first hip-hop artist\u003c/a> bestowed a rainbowed medallion by the institution. In 2017, the Kennedy Center also named the rapper Q-Tip, of A Tribe Called Quest, as its \u003ca href=\"https://www.npr.org/2017/10/08/556546495/q-tips-new-kennedy-center-role-helps-institutionalize-hip-hop\">first\u003c/a> artistic director of hip-hop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last year, the White House reception that usually accompanies the Kennedy Center awards ceremony was suspended “to allow the honorees to celebrate without any political distraction,” White House press secretary Sarah Huckabee Sanders \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/19/544684679/president-trump-to-skip-kennedy-center-honors-highlighting-rift-with-artists\">explained\u003c/a> at the time. It was only the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/19/544684679/president-trump-to-skip-kennedy-center-honors-highlighting-rift-with-artists\">fourth time\u003c/a> in the awards’ 40-year history, the \u003ca href=\"https://www.nytimes.com/2017/08/19/us/politics/donald-and-melania-trump-to-skip-kennedy-center-honors.html\">\u003cem>New York\u003c/em> \u003cem>Times\u003c/em>\u003c/a> reported, that a sitting president had missed the event — and the first leader to do so \u003ca href=\"https://factba.se/topic/calendar\">without\u003c/a> pressing travel plans or a hostage crisis. Prior to the cancellation of last year’s White House reception, three of the five honorees — Norman Lear, Carmen de Lavallade and Lionel Richie — had announced they would not attend, or were considering forgoing\u003cstrong>,\u003c/strong> the traditional visit to 1600 Pennsylvania Ave.\u003c/p>\n\u003cp>Of this year’s honorees, three have made their opinion on President Trump plain. Lin-Manuel Miranda \u003ca href=\"https://twitter.com/Lin_Manuel/status/914102927744217088\">said\u003c/a> he is “going straight to hell,” in response to a tweet President Trump sent about the mayor of San Juan, Puerto Rico. Sarcastically, Philip Glass \u003ca href=\"https://www.profil.at/kultur/philip-glass-donald-trump-8239536\">thanked \u003c/a>Trump in a 2017 interview with Austria’s \u003cem>Profil\u003c/em>, saying, “It’s wonderful … Even my children, who before were only immersed in video games, now attend demonstrations and engage politically. We should be grateful to Trump for shaking us.” Cher’s all-but-legendary Twitter account is consistent in nothing else if not \u003ca href=\"https://twitter.com/cher/status/1016407197247365121\">ire\u003c/a> for the president. McEntire has \u003ca href=\"https://pridesource.com/article/83932/\">maintained\u003c/a> that she does not talk politics — but denied, \u003ca href=\"https://www.etonline.com/media/videos/reba-mcentire-backstage-2018-grammy-awards-full-press-conference-95338\">backstage\u003c/a> at this year’s Grammy Awards, that her cover of “Back to God” was any pro-Trump signaling after the song was held up by Trump supporters as a signal of her support. Asked about her intentions in recording the 2008 song, and whether they had anything to do with the president, McEntire responded, incredulously: “Are you kidding?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This year’s ceremony will take place Sunday\u003c/em>\u003cem>\u003cstrong>,\u003c/strong>\u003c/em>\u003cem> Dec. 2, 2018 and will be broadcast on CBS December 26 at 8 p.m. ET.\u003c/em>\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=Kennedy+Center+Names+Its+2018+Honorees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Cher, Reba McEntire, Wayne Shorter, Philip Glass and the creators of \u003cem>Hamilton\u003c/em> will be celebrated at this year's gala on Dec. 2.",
"status": "publish",
"parent": 0,
"modified": 1726704933,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 735
},
"headData": {
"title": "Kennedy Center Names Its 2018 Honorees | KQED",
"description": "Cher, Reba McEntire, Wayne Shorter, Philip Glass and the creators of Hamilton will be celebrated at this year's gala on Dec. 2.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Kennedy Center Names Its 2018 Honorees",
"datePublished": "2018-07-26T12:57:45-07:00",
"dateModified": "2024-09-18T17:15:33-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Mandel Ngan",
"nprByline": "Andrew Flanagan",
"nprImageAgency": "AFP/Getty Images",
"nprStoryId": "632301628",
"nprApiLink": "http://api.npr.org/query?id=632301628&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2018/07/25/632301628/kennedy-center-names-its-2018-honorees?ft=nprml&f=632301628",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 25 Jul 2018 16:14:00 -0400",
"nprStoryDate": "Wed, 25 Jul 2018 16:14:14 -0400",
"nprLastModifiedDate": "Wed, 25 Jul 2018 16:20:31 -0400",
"path": "/arts/13837870/kennedy-center-names-its-2018-honorees",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Kennedy Center annually recognizes artists who have had a uniquely wide and enduring impact on American culture. On Wednesday, the Washington, D.C. institution announced this year’s recipients of the Kennedy Center Honors: country singer \u003ca href=\"https://www.npr.org/2017/02/04/513315456/reba-mcentires-new-album-is-a-dedication-to-family-and-faith\">Reba McEntire\u003c/a>, jazz saxophonist and composer \u003ca href=\"https://www.npr.org/artists/15294444/wayne-shorter\">Wayne Shorter\u003c/a>, composer \u003ca href=\"https://www.npr.org/artists/15680178/philip-glass\">Philip Glass\u003c/a>, singer Cher, and the creative team behind the smash musical \u003ca href=\"https://www.npr.org/tags/475044603/hamilton\">\u003cem>Hamilton\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>This year’s awardees are a typically eclectic group of artists. McEntire has forty years of studio history behind her and a sitcom to boot. Along with being a progenitor of jazz fusion and a celebrated Miles Davis collaborator, Shorter is a sci-fi lover who \u003ca href=\"https://www.npr.org/2018/07/25/631999084/jazz-legend-wayne-shorter-announces-emanon-a-multiverse-inspired-triple-album\">writes comic books\u003c/a>. Glass is one of the most celebrated contemporary composers in the world, and is also a co-founder of Tibet House, a cultural institution that seeks to “ensure the survival of Tibetan civilization and culture.” Cher is, of course, an idiosyncratic and indelible pop totem (and gifted Twitter user). Her statement upon learning Wednesday’s news was typically offbeat: “When I was very young I saw \u003cem>Dumbo\u003c/em> and \u003cem>Cinderella\u003c/em> and knew then what I wanted to be and the path my life would take and here I am!”\u003c/p>\n\u003cp>The Kennedy Center is also celebrating the four-member team behind \u003cem>Hamilton\u003c/em>, one of this decade’s most striking artistic phenomenons: writer and actor \u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\">Lin-Manuel Miranda\u003c/a>, director Thomas Kail, choreographer Andy Blankenbuehler and music director Alex Lacamoire. In its announcement, the Kennedy Center calls the musical “a transformative work that defies category.”\u003c/p>\n\u003cp>“Historically, the Kennedy Center Honors has celebrated lifetime achievement,” says the organization’s president\u003cstrong>,\u003c/strong> Deborah F. Rutter\u003cstrong>,\u003c/strong> in a statement. “In recognizing \u003cem>Hamilton\u003c/em> and its co-creators, the Kennedy Center is making an unprecedented statement about an unprecedented work — a work that transcends cultural boundaries and tells America’s story in a powerful and contemporary way.”\u003c/p>\n\u003cp>Notably, the central artistic vehicle in \u003cem>Hamilton\u003c/em>, rapping, is a medium only recently inducted into the Center’s honor rolls when, last year, LL Cool J became the \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541365592/ll-cool-j-to-become-kennedy-centers-first-hip-hop-honoree\">first hip-hop artist\u003c/a> bestowed a rainbowed medallion by the institution. In 2017, the Kennedy Center also named the rapper Q-Tip, of A Tribe Called Quest, as its \u003ca href=\"https://www.npr.org/2017/10/08/556546495/q-tips-new-kennedy-center-role-helps-institutionalize-hip-hop\">first\u003c/a> artistic director of hip-hop.\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>Last year, the White House reception that usually accompanies the Kennedy Center awards ceremony was suspended “to allow the honorees to celebrate without any political distraction,” White House press secretary Sarah Huckabee Sanders \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/19/544684679/president-trump-to-skip-kennedy-center-honors-highlighting-rift-with-artists\">explained\u003c/a> at the time. It was only the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/19/544684679/president-trump-to-skip-kennedy-center-honors-highlighting-rift-with-artists\">fourth time\u003c/a> in the awards’ 40-year history, the \u003ca href=\"https://www.nytimes.com/2017/08/19/us/politics/donald-and-melania-trump-to-skip-kennedy-center-honors.html\">\u003cem>New York\u003c/em> \u003cem>Times\u003c/em>\u003c/a> reported, that a sitting president had missed the event — and the first leader to do so \u003ca href=\"https://factba.se/topic/calendar\">without\u003c/a> pressing travel plans or a hostage crisis. Prior to the cancellation of last year’s White House reception, three of the five honorees — Norman Lear, Carmen de Lavallade and Lionel Richie — had announced they would not attend, or were considering forgoing\u003cstrong>,\u003c/strong> the traditional visit to 1600 Pennsylvania Ave.\u003c/p>\n\u003cp>Of this year’s honorees, three have made their opinion on President Trump plain. Lin-Manuel Miranda \u003ca href=\"https://twitter.com/Lin_Manuel/status/914102927744217088\">said\u003c/a> he is “going straight to hell,” in response to a tweet President Trump sent about the mayor of San Juan, Puerto Rico. Sarcastically, Philip Glass \u003ca href=\"https://www.profil.at/kultur/philip-glass-donald-trump-8239536\">thanked \u003c/a>Trump in a 2017 interview with Austria’s \u003cem>Profil\u003c/em>, saying, “It’s wonderful … Even my children, who before were only immersed in video games, now attend demonstrations and engage politically. We should be grateful to Trump for shaking us.” Cher’s all-but-legendary Twitter account is consistent in nothing else if not \u003ca href=\"https://twitter.com/cher/status/1016407197247365121\">ire\u003c/a> for the president. McEntire has \u003ca href=\"https://pridesource.com/article/83932/\">maintained\u003c/a> that she does not talk politics — but denied, \u003ca href=\"https://www.etonline.com/media/videos/reba-mcentire-backstage-2018-grammy-awards-full-press-conference-95338\">backstage\u003c/a> at this year’s Grammy Awards, that her cover of “Back to God” was any pro-Trump signaling after the song was held up by Trump supporters as a signal of her support. Asked about her intentions in recording the 2008 song, and whether they had anything to do with the president, McEntire responded, incredulously: “Are you kidding?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This year’s ceremony will take place Sunday\u003c/em>\u003cem>\u003cstrong>,\u003c/strong>\u003c/em>\u003cem> Dec. 2, 2018 and will be broadcast on CBS December 26 at 8 p.m. ET.\u003c/em>\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=Kennedy+Center+Names+Its+2018+Honorees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13837870/kennedy-center-names-its-2018-honorees",
"authors": [
"byline_arts_13837870"
],
"categories": [
"arts_235"
],
"tags": [
"arts_15393",
"arts_5108",
"arts_596",
"arts_5096"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13837871",
"label": "arts_137"
},
"arts_13837691": {
"type": "posts",
"id": "arts_13837691",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13837691",
"score": null,
"sort": [
1532476911000
]
},
"guestAuthors": [],
"slug": "elbert-big-man-howard-founding-black-panther-party-member-dies-at-80",
"title": "Elbert 'Big Man' Howard, Founding Black Panther Party Member, Dies at 80",
"publishDate": 1532476911,
"format": "image",
"headTitle": "Elbert ‘Big Man’ Howard, Founding Black Panther Party Member, Dies at 80 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Elbert “Big Man” Howard, a co-founder of the Black Panther Party who served as newspaper editor, information officer and logistics genius behind the group’s popular social programs, has died at age 80.\u003c/p>\n\u003cp>His wife of over 20 years, Carole Hyams, confirmed that Howard died Monday in Santa Rosa, California, after a long illness.\u003c/p>\n\u003cp>Friends and family described Howard as a “gentle giant” who could paint in words what a jazz song was saying. Howard was an author, volunteer jazz disc jockey, author, lecturer and activist in Sonoma County, where he later made his home.\u003c/p>\n\u003cp>Howard was one of six people who founded the Black Panther Party for Self-Defense in Oakland in October 1966, along with Bobby Seale and Huey Newton. \u003c/p>\n\u003cp>Howard told KQED in 2016 that while enrolled at Merritt College, “I met Bobby Seale and he introduced me to Huey Newton. He’d tell me, ‘Oh, we have some rap sessions after class. You want to come and listen in or whatever? You’re welcome to come. We’re think about putting together an organization.’ And that’s pretty much how it started.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Black Panther Party for Self-Defense, as it was known, began by patrolling police for possible abuse against black citizens. Because he was ex-military, Howard was crucial to the party’s safety patrol program.\u003c/p>\n\u003cp>“Elbert and I, we were ex-military. Being ex-military, we were able to show other party members the use of guns and weapons, and the safety of weapons,” Seale told the \u003cem>North Bay Bohemian\u003c/em> in 2012. “To me, as chairman of the Black Panther Party, Elbert Howard’s experience was invaluable.”\u003c/p>\n\u003cfigure id=\"attachment_11331587\" class=\"wp-caption aligncenter\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones.jpg\" alt=\"The Black Panthers, with Elbert 'Big Man' Howard at right, engaged in a practice drill.\" width=\"742\" height=\"499\" class=\"size-full wp-image-11331587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones-400x269.jpg 400w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panthers, with Elbert ‘Big Man’ Howard at right, engaged in a practice drill. \u003ccite>(Pirkle Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the party’s Minister of Information, Howard served as the first editor of the Black Panther newspaper. He traveled to Europe and Japan to set up chapters and helped launch the social programs that made the party famous, including a free medical clinic for sickle-cell anemia.\u003c/p>\n\u003cp>Key members quit in 1974 after years of fatal fights with police and each other. Later it became clear that the FBI had engaged in surveillance and harassment to undermine the party and incriminate its leaders.\u003c/p>\n\u003cp>Howard quit the party in 1974, going back to live under the radar in Tennessee and rarely talking about his time with the Panthers. Howard’s own daughter, even, was unaware of his involvement in the party until 2001, when he published his autobiography, \u003cem>Panther on the Prowl\u003c/em>.\u003c/p>\n\u003cp>Billy X. Jennings, a longtime friend and party archivist, said Howard was the person who negotiated lower prices and organized refrigerated trucks for food giveaways. Later, as an administrator at a local college, he organized a program for jail inmates and parolees to take courses.\u003c/p>\n\u003cp>“He was a beloved member,” Jennings said. “People might have had different grudges against Bobby or Eldridge (Cleaver), but nobody got a grudge against Big Man.”\u003c/p>\n\u003cp>The sentiment was echoed by Hyams. “He was loved almost universally by everybody in the party, and respected,” she said. “He gave his heart and soul to the party. He loved his people. But he also loved all oppressed people.”\u003c/p>\n\u003cfigure id=\"attachment_11331586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.Home_-800x530.jpg\" alt=\"Elbert 'Big Man' Howard in his home in Santa Rosa in 2016; framed photos of jazz musicians line the walls.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-11331586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-960x636.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elbert ‘Big Man’ Howard in his home in Santa Rosa in 2016; framed photos of jazz musicians line the walls. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Howard was born Jan. 5, 1938, in Chattanooga, Tennessee, as the only child of Emma and Anderson Howard. He joined the Air Force and was posted to Travis Air Force Base in Fairfield, California.\u003c/p>\n\u003cp>After he was discharged, Howard enrolled in Merritt College, where he met Seale and Newton. Seale remains active in politics. Newton was killed in 1989.\u003c/p>\n\u003cp>Hyams was a nurse when she met Howard in 1969; they broke up when he started traveling on party business.\u003c/p>\n\u003cp>“He was huge, he was impressive, he was quiet,” she said. “He seemed shy almost, but carried himself with great distinguishment.”\u003c/p>\n\u003cp>After Howard left the party, he returned to Tennessee and worked as a sales manager, Jennings said. The friends got back in touch in the 1990s, and Howard became active in party reunions and events.\u003c/p>\n\u003cp>In 2005, Hyams reached out to Howard by phone after a friend’s son found his information online. They got back together and were married in her Sonoma County home in 2007.\u003c/p>\n\u003cfigure id=\"attachment_11331585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-800x600.jpg\" alt=\"Former Black Panther Elbert 'Big Man' Howard hosts 'Jazz Connections' on KRCB-FM in Rohnert Park in 2016.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11331585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Black Panther Elbert ‘Big Man’ Howard hosts ‘Jazz Connections’ on KRCB-FM in Rohnert Park in 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, Howard brought the jazz music he loved to the airwaves with a succession of radio hosting gigs in Sonoma County. “I like to somehow keep [jazz] from being lost,” he told KQED in 2016. “I don’t really want to adhere to the popular attitude about ‘that’s old’ and ‘that needs to be dispensed with.’ It’s a part of American life, and I don’t want to see it just disappear.”\u003c/p>\n\u003cp>Howard remained politically active in recent years, establishing the Police Accountability Clinic and Helpline in Sonoma County. He also helped co-found the community station KWTF in Santa Rosa. \u003c/p>\n\u003cp>“I think he would want to be remembered as one who was true to the struggle for human rights,” said Hyams. “That was the most important thing in his life, along with his fierce, fierce love for his comrades and people. That was what motivated him. That was what drew me to him in 1969. And that never changed, no matter what his trials and tribulations were.”\u003c/p>\n\u003cp>In addition to his wife, survivors include his daughter Tynisa Howard Wilson of Landover, Maryland, and grandsons Jaylen and Amin; stepson Robert Grimes of San Pablo, California, and three step-grandchildren.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A memorial to honor Elbert “Big Man” Howard takes place Saturday, Aug. 25 at Bobby Hutton Grove inside of DeFremery Park in Oakland. Starts at 1pm. Speakers include Emory Douglas & Kathleen Cleaver.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The original Black Panther Party member had remained politically and culturally active in Sonoma County.",
"status": "publish",
"parent": 0,
"modified": 1726771024,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 26,
"wordCount": 1043
},
"headData": {
"title": "Elbert 'Big Man' Howard, Founding Black Panther Party Member, Dies at 80 | KQED",
"description": "The original Black Panther Party member had remained politically and culturally active in Sonoma County.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Elbert 'Big Man' Howard, Founding Black Panther Party Member, Dies at 80",
"datePublished": "2018-07-24T17:01:51-07:00",
"dateModified": "2024-09-19T11:37:04-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Janie Har, Associated Press and Gabe Meline, KQED",
"path": "/arts/13837691/elbert-big-man-howard-founding-black-panther-party-member-dies-at-80",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Elbert “Big Man” Howard, a co-founder of the Black Panther Party who served as newspaper editor, information officer and logistics genius behind the group’s popular social programs, has died at age 80.\u003c/p>\n\u003cp>His wife of over 20 years, Carole Hyams, confirmed that Howard died Monday in Santa Rosa, California, after a long illness.\u003c/p>\n\u003cp>Friends and family described Howard as a “gentle giant” who could paint in words what a jazz song was saying. Howard was an author, volunteer jazz disc jockey, author, lecturer and activist in Sonoma County, where he later made his home.\u003c/p>\n\u003cp>Howard was one of six people who founded the Black Panther Party for Self-Defense in Oakland in October 1966, along with Bobby Seale and Huey Newton. \u003c/p>\n\u003cp>Howard told KQED in 2016 that while enrolled at Merritt College, “I met Bobby Seale and he introduced me to Huey Newton. He’d tell me, ‘Oh, we have some rap sessions after class. You want to come and listen in or whatever? You’re welcome to come. We’re think about putting together an organization.’ And that’s pretty much how it started.”\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 Black Panther Party for Self-Defense, as it was known, began by patrolling police for possible abuse against black citizens. Because he was ex-military, Howard was crucial to the party’s safety patrol program.\u003c/p>\n\u003cp>“Elbert and I, we were ex-military. Being ex-military, we were able to show other party members the use of guns and weapons, and the safety of weapons,” Seale told the \u003cem>North Bay Bohemian\u003c/em> in 2012. “To me, as chairman of the Black Panther Party, Elbert Howard’s experience was invaluable.”\u003c/p>\n\u003cfigure id=\"attachment_11331587\" class=\"wp-caption aligncenter\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones.jpg\" alt=\"The Black Panthers, with Elbert 'Big Man' Howard at right, engaged in a practice drill.\" width=\"742\" height=\"499\" class=\"size-full wp-image-11331587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.PirkleJones-400x269.jpg 400w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panthers, with Elbert ‘Big Man’ Howard at right, engaged in a practice drill. \u003ccite>(Pirkle Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the party’s Minister of Information, Howard served as the first editor of the Black Panther newspaper. He traveled to Europe and Japan to set up chapters and helped launch the social programs that made the party famous, including a free medical clinic for sickle-cell anemia.\u003c/p>\n\u003cp>Key members quit in 1974 after years of fatal fights with police and each other. Later it became clear that the FBI had engaged in surveillance and harassment to undermine the party and incriminate its leaders.\u003c/p>\n\u003cp>Howard quit the party in 1974, going back to live under the radar in Tennessee and rarely talking about his time with the Panthers. Howard’s own daughter, even, was unaware of his involvement in the party until 2001, when he published his autobiography, \u003cem>Panther on the Prowl\u003c/em>.\u003c/p>\n\u003cp>Billy X. Jennings, a longtime friend and party archivist, said Howard was the person who negotiated lower prices and organized refrigerated trucks for food giveaways. Later, as an administrator at a local college, he organized a program for jail inmates and parolees to take courses.\u003c/p>\n\u003cp>“He was a beloved member,” Jennings said. “People might have had different grudges against Bobby or Eldridge (Cleaver), but nobody got a grudge against Big Man.”\u003c/p>\n\u003cp>The sentiment was echoed by Hyams. “He was loved almost universally by everybody in the party, and respected,” she said. “He gave his heart and soul to the party. He loved his people. But he also loved all oppressed people.”\u003c/p>\n\u003cfigure id=\"attachment_11331586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.Home_-800x530.jpg\" alt=\"Elbert 'Big Man' Howard in his home in Santa Rosa in 2016; framed photos of jazz musicians line the walls.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-11331586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.Home_-960x636.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elbert ‘Big Man’ Howard in his home in Santa Rosa in 2016; framed photos of jazz musicians line the walls. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Howard was born Jan. 5, 1938, in Chattanooga, Tennessee, as the only child of Emma and Anderson Howard. He joined the Air Force and was posted to Travis Air Force Base in Fairfield, California.\u003c/p>\n\u003cp>After he was discharged, Howard enrolled in Merritt College, where he met Seale and Newton. Seale remains active in politics. Newton was killed in 1989.\u003c/p>\n\u003cp>Hyams was a nurse when she met Howard in 1969; they broke up when he started traveling on party business.\u003c/p>\n\u003cp>“He was huge, he was impressive, he was quiet,” she said. “He seemed shy almost, but carried himself with great distinguishment.”\u003c/p>\n\u003cp>After Howard left the party, he returned to Tennessee and worked as a sales manager, Jennings said. The friends got back in touch in the 1990s, and Howard became active in party reunions and events.\u003c/p>\n\u003cp>In 2005, Hyams reached out to Howard by phone after a friend’s son found his information online. They got back together and were married in her Sonoma County home in 2007.\u003c/p>\n\u003cfigure id=\"attachment_11331585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-800x600.jpg\" alt=\"Former Black Panther Elbert 'Big Man' Howard hosts 'Jazz Connections' on KRCB-FM in Rohnert Park in 2016.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11331585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/BigMan.KRCB_-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Black Panther Elbert ‘Big Man’ Howard hosts ‘Jazz Connections’ on KRCB-FM in Rohnert Park in 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, Howard brought the jazz music he loved to the airwaves with a succession of radio hosting gigs in Sonoma County. “I like to somehow keep [jazz] from being lost,” he told KQED in 2016. “I don’t really want to adhere to the popular attitude about ‘that’s old’ and ‘that needs to be dispensed with.’ It’s a part of American life, and I don’t want to see it just disappear.”\u003c/p>\n\u003cp>Howard remained politically active in recent years, establishing the Police Accountability Clinic and Helpline in Sonoma County. He also helped co-found the community station KWTF in Santa Rosa. \u003c/p>\n\u003cp>“I think he would want to be remembered as one who was true to the struggle for human rights,” said Hyams. “That was the most important thing in his life, along with his fierce, fierce love for his comrades and people. That was what motivated him. That was what drew me to him in 1969. And that never changed, no matter what his trials and tribulations were.”\u003c/p>\n\u003cp>In addition to his wife, survivors include his daughter Tynisa Howard Wilson of Landover, Maryland, and grandsons Jaylen and Amin; stepson Robert Grimes of San Pablo, California, and three step-grandchildren.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A memorial to honor Elbert “Big Man” Howard takes place Saturday, Aug. 25 at Bobby Hutton Grove inside of DeFremery Park in Oakland. Starts at 1pm. Speakers include Emory Douglas & Kathleen Cleaver.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13837691/elbert-big-man-howard-founding-black-panther-party-member-dies-at-80",
"authors": [
"byline_arts_13837691"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1346",
"arts_1118",
"arts_746",
"arts_596",
"arts_1091"
],
"featImg": "arts_11331581",
"label": "arts"
},
"arts_13837529": {
"type": "posts",
"id": "arts_13837529",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13837529",
"score": null,
"sort": [
1532383272000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1532383272,
"format": "image",
"title": "At 90, SF Piano Great Leon Fleisher Continues to Inspire",
"headTitle": "At 90, SF Piano Great Leon Fleisher Continues to Inspire | KQED",
"content": "\u003cp>In a recent conversation with the Russian pianist Nikolai Demidenko, the subject turned to Brahms’s \u003cem>Piano Concerto No. 1 in D Minor\u003c/em>, a work recorded by virtually every pianist of renown, dead or alive. I raved about the electrifying recordings of William Kapell and Dimitri Mitropoulos, Vladimir Horowitz and Arturo Toscanini. Demidenko dismissed them all.\u003c/p>\n\u003cp>“The benchmark for me is [Leon] Fleisher’s recording with [George] Szell,” he said with a calm, serious tone in his voice, referring to the preeminent San Francisco-born pianist’s collaboration with the late conductor of the Cleveland Orchestra. “Fleisher’s recording is unsurpassed. What an agile, brilliant mind. And what a very interesting man. I have great respect for him.”\u003c/p>\n\u003cp>Leon Fleisher is ninety years old today. One of the most refined and transcendent musicians the United States has ever produced, he continues to inspire generations of musicians as a teacher, mentor and performer.\u003c/p>\n\u003cp>https://youtu.be/0tHdavyycsE\u003c/p>\n\u003cp>“Except for my sight, which is fast diminishing, I’m hale, hearty and ambulatory,” the pianist tells me in a recent phone interview from his home in Baltimore.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I ask for Fleisher’s account of that 1958 Brahms recording, which he made as a 29-year-old with Szell. “If I remember correctly, there was a snowstorm, and my piano didn’t arrive until the second and third movements,” he says. “Oh yes, I would do it differently today. It’s about growth. It’s a continuing process.”\u003c/p>\n\u003cp>Fleisher was born in San Francisco on July 23, 1928; the country, then led by President Coolidge, was mere months from facing the Great Depression. San Francisco was still recovering from the 1906 earthquake, which left half the city covered in ash, and destroyed many of its music venues. (Fleisher has lived through 16 presidencies. “We’re going to hell in a handbasket,” he says of the current administration.)\u003c/p>\n\u003cp>But there was hope buried in the rubble. Musicians like opera singer Luisa Tetrazzini vouched for San Francisco, declaring it her favorite city in the world in 1910. The city hosted the World’s Fair in 1915. Composer Sergei Prokofiev visited from Russia in 1926; Maurice Ravel, the French author of the \u003cem>Concerto for the Left Hand\u003c/em> that Fleisher would play “a thousand times” in his career, followed in February 1928 and conducted the nascent San Francisco Symphony.\u003c/p>\n\u003cp>Today, world-class arts institutions abound near San Francisco City Hall, and Fleisher is one of the most iconic pillars of the city’s musical legacy. In February 2019, San Francisco Performances presents Fleisher and his star pupil, pianist Jonathan Biss, in a celebratory \u003ca href=\"https://sfperformances.org/performances/1819/LeonFleisher.html\" target=\"_blank\" rel=\"noopener\">90th birthday recital\u003c/a> at the Herbst Theatre.\u003c/p>\n\u003cp>“I keep coming back to the view of the War Memorial Opera House,” Fleisher says of the building where he heard and later met composer Sergei Rachmaninoff in 1934.\u003c/p>\n\u003cfigure id=\"attachment_13837558\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/fleisher-with-schnabel-800x1000.jpg\" alt=\"At nine years old, Leon Fleisher began studying with Viennese master Artur Schnabel.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-schnabel-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-schnabel-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-schnabel-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-schnabel.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-schnabel-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-schnabel-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-schnabel-520x650.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At nine years old, Leon Fleisher began studying with Viennese master Artur Schnabel. \u003ccite>(Courtesy of Johns Hopkins University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I remember living on Fulton Street opposite the park; how, much to my mother’s dismay, I walked on the concrete walls of the park,” recalls Fleisher of his San Francisco youth. “I also lived on Pierce Street. It’s too bloody expensive a place to live today! Oh, but the Golden Gate, the view from Berkeley, from Oakland, it’s quite invigorating. The air is really quite special.”\u003c/p>\n\u003cp>Fleisher’s mother and father, immigrants from Poland and Ukraine, respectively, were hat makers who owned stores on Geary and Fillmore. For his mother, the piano represented “a gateway to a new and better world,” and so Fleisher began studying with distinguished Austrian pianist Artur Schnabel at age 9.\u003c/p>\n\u003cp>“Schnabel certainly had to convince me of the value of things. There are dimensions of meaningfulness in music. German music is metaphysical,” Fleisher told me in a previous interview in 2014. “Schnabel said Mozart is the most inaccessible of the great masters because with the fewest number of notes, he accesses the deepest levels of human awareness and experience.”\u003c/p>\n\u003cp>That early advice from Schnabel informed Fleisher’s approach for decades to come, and foreshadowed the effect he’d have on younger musicians: “You hear a great performance of that music and it can be soul-shattering. It can transform a person,” he says.\u003c/p>\n\u003ch2>Fleisher reinvents himself\u003c/h2>\n\u003cp>In 1944, at age 16, Fleisher was hailed by conductor Pierre Monteux as “the pianistic find of the century.” A gold medal at the 1952 Queen Elisabeth competition in Belgium further solidified his reputation as an outstanding, young American pianist. Alongside firebrands Eugene Istomin, Claude Frank, Graffman and Jacob Lateiner, Fleisher was among the precocious musicians who helped secure America’s status as a classical music powerhouse.\u003c/p>\n\u003cp>“It seemed like a new period when Americans were dominating,” says Jerome Lowenthal, 86, a longtime professor of piano at Juilliard who first met Fleisher at pianist William Kapell’s home in 1952. “They were a very brilliant group of pianists, close friends, and they shared their struggles as well as their aspirations.”\u003c/p>\n\u003cp>At the height of Fleisher’s fame and powers, disaster struck. In 1964, at age 36, Fleisher lost control of his right arm. A mysterious, incurable ailment—later diagnosed as focal dystonia—caused his fourth and fifth fingers to curl up. It was a devastating loss for the piano world, which had lost Dinu Lipatti, 33, to cancer in 1950 and Kapell, 31, to a Bay Area plane crash in 1953.\u003c/p>\n\u003cfigure id=\"attachment_13837559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-800x542.jpg\" alt=\"Leon Fleisher with fellow pianists Gary Graffman and Eugene Istomin. \" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-1200x813.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-1180x800.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-960x651.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-520x352.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leon Fleisher with fellow pianists Gary Graffman and Eugene Istomin. \u003ccite>(Courtesy of Johns Hopkins University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He is without doubt one of the major musical figures of the second half of the 20th century,” says pianist Gary Graffman, 89, former head of the Curtis Institute and Fleisher’s close friend of over 70 years. “I’ve always admired his playing very much. His whole approach to music is honest and convincing, very unique and personal. That he managed to accomplish everything he has, despite a playing career that was halted at age 36, is simply amazing.”\u003c/p>\n\u003cp>In 1967, after a nearly two-year absence from touring due to his ailment, Fleisher began his transformation, concentrating on the piano’s left-handed repertoire, starting with Ravel’s \u003cem>Piano Concerto for the Left Hand\u003c/em>. In the decades since, the list of contemporary composers who’ve written left-handed works for Fleisher includes Gunther Schuller, Lukas Foss, Leon Kirschner and William Bolcom.\u003c/p>\n\u003cp>https://youtu.be/ij0r9tsCHEs\u003c/p>\n\u003cp>In classical music, character is revealed in the form of tone, and many of Fleisher’s colleagues and former pupils, themselves now concert piano greats, praise Fleisher’s tone as altogether inimitable.\u003c/p>\n\u003cp>“I don’t think any of us who studied with him ever managed to reproduce his tone,” says award-winning pianist Jonathan Biss, 37, who teaches at the Curtis Institute in Philadelphia. “It’s a searing sound—he genuinely hates excess—and it gets to the center of the note and the musical idea in such a direct way.”\u003c/p>\n\u003cp>“His sound is definitely unique, and startling in its clarity and intention,” says Robert McDonald, who worked with Fleisher as a 21-year-old and is currently on the piano faculties at Juilliard and Curtis. “It has so much to do with how he thinks about and hears rhythmic direction in a phrase and the complex energy behind it.”\u003c/p>\n\u003cp>“His sound can be quite indistinguishable from the musical integrity of his playing, his seriousness of purpose,” says pianist Garrick Ohlsson, 70, the only American to ever win the prestigious International Chopin Piano Competition in Warsaw. “It’s an incredibly etched, crystalline and beautifully balanced sound.”\u003c/p>\n\u003ch2>Continuing a legacy\u003c/h2>\n\u003cp>In 1968, at the suggestion of a student, Fleisher stepped behind the podium, taking on the role of conductor. In 1973, he became the associate conductor of the Baltimore Symphony.\u003c/p>\n\u003cp>“I had a wonderful experience playing Rachmaninoff’s \u003cem>Third Piano Concerto\u003c/em> with him as conductor one summer in the 1970s,” says Ohlsson. “Even though he wasn’t playing anymore, I held him in a certain kind of awe and respect. He embodies a living tradition stretching back to Schnabel and Rachmaninoff, and as his junior colleague, I didn’t find him to be a formidable authority figure—I found him to be a generous, helpful, easy colleague. I’m a complete admirer of Leon Fleisher from start to finish.”\u003c/p>\n\u003cp>https://youtu.be/R78qse_Oc5o\u003c/p>\n\u003cp>In 2004, after receiving botox injections in his right hand, Fleisher regained some function and released his first two-handed recordings since the 1960s. “I must say that at age 90, I can’t really count on my hand for too much,” he says of his current state. “It might be a little bit better because I have not ceased to experiment, I’m still trying this and that. I can do certain things. And those things I try to do as well as I can.”\u003c/p>\n\u003cp>In the end, perhaps the role in which Fleisher continues to make the largest impact, touching generation after generation, is that of teacher. In 1959, Fleisher accepted a position at the Peabody Institute at Johns Hopkins University in Baltimore. Today, nearly sixty years later, his influence is found virtually everywhere—his pupils are esteemed faculty members of Juilliard and Curtis; some are renowned artists like Biss, André Watts and Hélène Grimaud.\u003c/p>\n\u003cp>As a testament to Fleisher’s influence, in 2014, arts patrons Robert Meyerhoff and Rheda Becker donated $1 million to the Peabody Institute to create a scholarship fund for students of the great pianist.\u003c/p>\n\u003cfigure id=\"attachment_13837560\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837560\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-800x1000.jpg\" alt=\"Leon Fleisher, conductor and pianist. \" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-960x1201.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-1920x2401.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-1180x1476.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-520x650.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor.jpg 1638w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leon Fleisher, conductor and pianist. \u003ccite>(Courtesy of Johns Hopkins University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Leon holds an important, even iconic place in the history of the piano and pianists,” says Julliard’s Robert McDonald. “A career of this distinction evolves always because of the value of its artistic force. Fleisher has occupied this role in our culture for decades.”\u003c/p>\n\u003cp>It’s been over seven decades since Fleisher and his peers put the United States on the classical music map—a golden age of artistic growth. Generations have come and gone, and the culture of America marches on—albeit, now to a vastly different beat. Biss speaks passionately about the need to preserve Fleisher’s musical legacy.\u003c/p>\n\u003cp>“There are very few people who do work that is important to the degree that it sort of outlives them. Leon Fleisher is one of those people,” says Biss. “He certainly was a fantastic guardian of the culture he inherited himself, and it’s up to us now to be equally good guardians of what we inherited from him. And if we can’t, then shame on us.”\u003c/p>\n\u003cp>Ten years ago, Fleisher wrote the following words in a piece that was published in \u003cem>The Washington Post\u003c/em>: “I am nearly 80 years old and have been making music for almost all of that time, sustained by the belief that, in the words that Beethoven inscribed in his copy of the \u003cem>Missa Solemnis\u003c/em>, the purpose of music is to communicate from the heart to the heart. Beethoven’s vision of music as a force capable of reconciling us to each other and to the world may seem remote, but that renders it an ever more crucial ideal for which to strive.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Today, at 90, the inimitable artist is still plodding away, illuminating the darkness with his indomitable spirit.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2006,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 34
},
"modified": 1705027458,
"excerpt": "Leon Fleisher helped put the United States on the map in the Eurocentric classical music world and continues to influence several generations of pianists. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Leon Fleisher helped put the United States on the map in the Eurocentric classical music world and continues to influence several generations of pianists. ",
"title": "At 90, SF Piano Great Leon Fleisher Continues to Inspire | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "At 90, SF Piano Great Leon Fleisher Continues to Inspire",
"datePublished": "2018-07-23T15:01:12-07:00",
"dateModified": "2024-01-11T18:44:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "at-90-sf-piano-great-leon-fleisher-continues-to-inspire",
"status": "publish",
"nprByline": "Elijah Ho",
"sticky": false,
"path": "/arts/13837529/at-90-sf-piano-great-leon-fleisher-continues-to-inspire",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a recent conversation with the Russian pianist Nikolai Demidenko, the subject turned to Brahms’s \u003cem>Piano Concerto No. 1 in D Minor\u003c/em>, a work recorded by virtually every pianist of renown, dead or alive. I raved about the electrifying recordings of William Kapell and Dimitri Mitropoulos, Vladimir Horowitz and Arturo Toscanini. Demidenko dismissed them all.\u003c/p>\n\u003cp>“The benchmark for me is [Leon] Fleisher’s recording with [George] Szell,” he said with a calm, serious tone in his voice, referring to the preeminent San Francisco-born pianist’s collaboration with the late conductor of the Cleveland Orchestra. “Fleisher’s recording is unsurpassed. What an agile, brilliant mind. And what a very interesting man. I have great respect for him.”\u003c/p>\n\u003cp>Leon Fleisher is ninety years old today. One of the most refined and transcendent musicians the United States has ever produced, he continues to inspire generations of musicians as a teacher, mentor and performer.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0tHdavyycsE'\n title='//www.youtube.com/embed/0tHdavyycsE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Except for my sight, which is fast diminishing, I’m hale, hearty and ambulatory,” the pianist tells me in a recent phone interview from his home in Baltimore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I ask for Fleisher’s account of that 1958 Brahms recording, which he made as a 29-year-old with Szell. “If I remember correctly, there was a snowstorm, and my piano didn’t arrive until the second and third movements,” he says. “Oh yes, I would do it differently today. It’s about growth. It’s a continuing process.”\u003c/p>\n\u003cp>Fleisher was born in San Francisco on July 23, 1928; the country, then led by President Coolidge, was mere months from facing the Great Depression. San Francisco was still recovering from the 1906 earthquake, which left half the city covered in ash, and destroyed many of its music venues. (Fleisher has lived through 16 presidencies. “We’re going to hell in a handbasket,” he says of the current administration.)\u003c/p>\n\u003cp>But there was hope buried in the rubble. Musicians like opera singer Luisa Tetrazzini vouched for San Francisco, declaring it her favorite city in the world in 1910. The city hosted the World’s Fair in 1915. Composer Sergei Prokofiev visited from Russia in 1926; Maurice Ravel, the French author of the \u003cem>Concerto for the Left Hand\u003c/em> that Fleisher would play “a thousand times” in his career, followed in February 1928 and conducted the nascent San Francisco Symphony.\u003c/p>\n\u003cp>Today, world-class arts institutions abound near San Francisco City Hall, and Fleisher is one of the most iconic pillars of the city’s musical legacy. In February 2019, San Francisco Performances presents Fleisher and his star pupil, pianist Jonathan Biss, in a celebratory \u003ca href=\"https://sfperformances.org/performances/1819/LeonFleisher.html\" target=\"_blank\" rel=\"noopener\">90th birthday recital\u003c/a> at the Herbst Theatre.\u003c/p>\n\u003cp>“I keep coming back to the view of the War Memorial Opera House,” Fleisher says of the building where he heard and later met composer Sergei Rachmaninoff in 1934.\u003c/p>\n\u003cfigure id=\"attachment_13837558\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/fleisher-with-schnabel-800x1000.jpg\" alt=\"At nine years old, Leon Fleisher began studying with Viennese master Artur Schnabel.\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-schnabel-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-schnabel-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-schnabel-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-schnabel.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-schnabel-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-schnabel-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-schnabel-520x650.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At nine years old, Leon Fleisher began studying with Viennese master Artur Schnabel. \u003ccite>(Courtesy of Johns Hopkins University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I remember living on Fulton Street opposite the park; how, much to my mother’s dismay, I walked on the concrete walls of the park,” recalls Fleisher of his San Francisco youth. “I also lived on Pierce Street. It’s too bloody expensive a place to live today! Oh, but the Golden Gate, the view from Berkeley, from Oakland, it’s quite invigorating. The air is really quite special.”\u003c/p>\n\u003cp>Fleisher’s mother and father, immigrants from Poland and Ukraine, respectively, were hat makers who owned stores on Geary and Fillmore. For his mother, the piano represented “a gateway to a new and better world,” and so Fleisher began studying with distinguished Austrian pianist Artur Schnabel at age 9.\u003c/p>\n\u003cp>“Schnabel certainly had to convince me of the value of things. There are dimensions of meaningfulness in music. German music is metaphysical,” Fleisher told me in a previous interview in 2014. “Schnabel said Mozart is the most inaccessible of the great masters because with the fewest number of notes, he accesses the deepest levels of human awareness and experience.”\u003c/p>\n\u003cp>That early advice from Schnabel informed Fleisher’s approach for decades to come, and foreshadowed the effect he’d have on younger musicians: “You hear a great performance of that music and it can be soul-shattering. It can transform a person,” he says.\u003c/p>\n\u003ch2>Fleisher reinvents himself\u003c/h2>\n\u003cp>In 1944, at age 16, Fleisher was hailed by conductor Pierre Monteux as “the pianistic find of the century.” A gold medal at the 1952 Queen Elisabeth competition in Belgium further solidified his reputation as an outstanding, young American pianist. Alongside firebrands Eugene Istomin, Claude Frank, Graffman and Jacob Lateiner, Fleisher was among the precocious musicians who helped secure America’s status as a classical music powerhouse.\u003c/p>\n\u003cp>“It seemed like a new period when Americans were dominating,” says Jerome Lowenthal, 86, a longtime professor of piano at Juilliard who first met Fleisher at pianist William Kapell’s home in 1952. “They were a very brilliant group of pianists, close friends, and they shared their struggles as well as their aspirations.”\u003c/p>\n\u003cp>At the height of Fleisher’s fame and powers, disaster struck. In 1964, at age 36, Fleisher lost control of his right arm. A mysterious, incurable ailment—later diagnosed as focal dystonia—caused his fourth and fifth fingers to curl up. It was a devastating loss for the piano world, which had lost Dinu Lipatti, 33, to cancer in 1950 and Kapell, 31, to a Bay Area plane crash in 1953.\u003c/p>\n\u003cfigure id=\"attachment_13837559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-800x542.jpg\" alt=\"Leon Fleisher with fellow pianists Gary Graffman and Eugene Istomin. \" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-1200x813.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-1180x800.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-960x651.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin-520x352.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-with-graffman-and-istomin.jpg 1279w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leon Fleisher with fellow pianists Gary Graffman and Eugene Istomin. \u003ccite>(Courtesy of Johns Hopkins University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He is without doubt one of the major musical figures of the second half of the 20th century,” says pianist Gary Graffman, 89, former head of the Curtis Institute and Fleisher’s close friend of over 70 years. “I’ve always admired his playing very much. His whole approach to music is honest and convincing, very unique and personal. That he managed to accomplish everything he has, despite a playing career that was halted at age 36, is simply amazing.”\u003c/p>\n\u003cp>In 1967, after a nearly two-year absence from touring due to his ailment, Fleisher began his transformation, concentrating on the piano’s left-handed repertoire, starting with Ravel’s \u003cem>Piano Concerto for the Left Hand\u003c/em>. In the decades since, the list of contemporary composers who’ve written left-handed works for Fleisher includes Gunther Schuller, Lukas Foss, Leon Kirschner and William Bolcom.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ij0r9tsCHEs'\n title='//www.youtube.com/embed/ij0r9tsCHEs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In classical music, character is revealed in the form of tone, and many of Fleisher’s colleagues and former pupils, themselves now concert piano greats, praise Fleisher’s tone as altogether inimitable.\u003c/p>\n\u003cp>“I don’t think any of us who studied with him ever managed to reproduce his tone,” says award-winning pianist Jonathan Biss, 37, who teaches at the Curtis Institute in Philadelphia. “It’s a searing sound—he genuinely hates excess—and it gets to the center of the note and the musical idea in such a direct way.”\u003c/p>\n\u003cp>“His sound is definitely unique, and startling in its clarity and intention,” says Robert McDonald, who worked with Fleisher as a 21-year-old and is currently on the piano faculties at Juilliard and Curtis. “It has so much to do with how he thinks about and hears rhythmic direction in a phrase and the complex energy behind it.”\u003c/p>\n\u003cp>“His sound can be quite indistinguishable from the musical integrity of his playing, his seriousness of purpose,” says pianist Garrick Ohlsson, 70, the only American to ever win the prestigious International Chopin Piano Competition in Warsaw. “It’s an incredibly etched, crystalline and beautifully balanced sound.”\u003c/p>\n\u003ch2>Continuing a legacy\u003c/h2>\n\u003cp>In 1968, at the suggestion of a student, Fleisher stepped behind the podium, taking on the role of conductor. In 1973, he became the associate conductor of the Baltimore Symphony.\u003c/p>\n\u003cp>“I had a wonderful experience playing Rachmaninoff’s \u003cem>Third Piano Concerto\u003c/em> with him as conductor one summer in the 1970s,” says Ohlsson. “Even though he wasn’t playing anymore, I held him in a certain kind of awe and respect. He embodies a living tradition stretching back to Schnabel and Rachmaninoff, and as his junior colleague, I didn’t find him to be a formidable authority figure—I found him to be a generous, helpful, easy colleague. I’m a complete admirer of Leon Fleisher from start to finish.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R78qse_Oc5o'\n title='//www.youtube.com/embed/R78qse_Oc5o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2004, after receiving botox injections in his right hand, Fleisher regained some function and released his first two-handed recordings since the 1960s. “I must say that at age 90, I can’t really count on my hand for too much,” he says of his current state. “It might be a little bit better because I have not ceased to experiment, I’m still trying this and that. I can do certain things. And those things I try to do as well as I can.”\u003c/p>\n\u003cp>In the end, perhaps the role in which Fleisher continues to make the largest impact, touching generation after generation, is that of teacher. In 1959, Fleisher accepted a position at the Peabody Institute at Johns Hopkins University in Baltimore. Today, nearly sixty years later, his influence is found virtually everywhere—his pupils are esteemed faculty members of Juilliard and Curtis; some are renowned artists like Biss, André Watts and Hélène Grimaud.\u003c/p>\n\u003cp>As a testament to Fleisher’s influence, in 2014, arts patrons Robert Meyerhoff and Rheda Becker donated $1 million to the Peabody Institute to create a scholarship fund for students of the great pianist.\u003c/p>\n\u003cfigure id=\"attachment_13837560\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837560\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-800x1000.jpg\" alt=\"Leon Fleisher, conductor and pianist. \" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-960x1201.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-1920x2401.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-1180x1476.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor-520x650.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fleisher-as-pianist-and-conductor.jpg 1638w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leon Fleisher, conductor and pianist. \u003ccite>(Courtesy of Johns Hopkins University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Leon holds an important, even iconic place in the history of the piano and pianists,” says Julliard’s Robert McDonald. “A career of this distinction evolves always because of the value of its artistic force. Fleisher has occupied this role in our culture for decades.”\u003c/p>\n\u003cp>It’s been over seven decades since Fleisher and his peers put the United States on the classical music map—a golden age of artistic growth. Generations have come and gone, and the culture of America marches on—albeit, now to a vastly different beat. Biss speaks passionately about the need to preserve Fleisher’s musical legacy.\u003c/p>\n\u003cp>“There are very few people who do work that is important to the degree that it sort of outlives them. Leon Fleisher is one of those people,” says Biss. “He certainly was a fantastic guardian of the culture he inherited himself, and it’s up to us now to be equally good guardians of what we inherited from him. And if we can’t, then shame on us.”\u003c/p>\n\u003cp>Ten years ago, Fleisher wrote the following words in a piece that was published in \u003cem>The Washington Post\u003c/em>: “I am nearly 80 years old and have been making music for almost all of that time, sustained by the belief that, in the words that Beethoven inscribed in his copy of the \u003cem>Missa Solemnis\u003c/em>, the purpose of music is to communicate from the heart to the heart. Beethoven’s vision of music as a force capable of reconciling us to each other and to the world may seem remote, but that renders it an ever more crucial ideal for which to strive.”\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>Today, at 90, the inimitable artist is still plodding away, illuminating the darkness with his indomitable spirit.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13837529/at-90-sf-piano-great-leon-fleisher-continues-to-inspire",
"authors": [
"byline_arts_13837529"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1312",
"arts_1118",
"arts_596",
"arts_5337"
],
"featImg": "arts_13837557",
"label": "arts"
},
"arts_13837533": {
"type": "posts",
"id": "arts_13837533",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13837533",
"score": null,
"sort": [
1532368446000
]
},
"guestAuthors": [],
"slug": "david-bowies-first-demo-from-1963-found-in-bread-basket",
"title": "David Bowie's First Demo, From 1963, Found In Bread Basket",
"publishDate": 1532368446,
"format": "standard",
"headTitle": "David Bowie’s First Demo, From 1963, Found In Bread Basket | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The earliest recording of \u003ca href=\"https://www.npr.org/artists/15289962/david-bowie\">David Bowie\u003c/a> singing has been unearthed after 55 years in… the bread basket of a former bandmate from one of his earliest projects, The Konrads, according to \u003ca href=\"https://www.theguardian.com/music/2018/jul/23/david-bowies-first-demo-track-discovered-in-old-bread-basket\">\u003cem>The Guardian.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>In a \u003ca href=\"http://www.omegaauctions.co.uk/news-media/news/bowies-first-ever-recording-up-for-auction/\">press release\u003c/a> from Omega Auctions, Konrads drummer David Hadfield writes: “So this became the very first recording of David Jones (Bowie) singing 55 years ago! There is no other recording featuring David as lead in existence. Decca initially turned us down, but when they eventually gave us an auction later that year, vocalist Roger Ferris was the lead voice and David sang backing harmonies.” The recording is part of a group of memorabilia from Bowie’s early career that will include letters, photographs and “promotional sketches.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"BOWIE’S FIRST EVER STUDIO RECORDING UP FOR AUCTION\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/hg7YwHa5Zas?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>In \u003cem>David Bowie: I Was There\u003c/em>, a book of eyewitness accounts of Bowie encounters, the pop legend’s former bandmate Alan Dodds says of the band’s standing in June, 1963 — roughly a few months after the newly discovered demo was recorded — that Bowie, still David Jones at the time, was “the obvious choice” for a frontman. “He could command an audience instantly.” Dodds says he wrote the rejected single, “I Never Dreamed,” and that “Decca declined to offer us a contract and all we were left with was an acetate recording. We disbanded after about a year.” A \u003cem>Telegraph\u003c/em> article from 2016 refers to that recording, \u003ca href=\"https://www.telegraph.co.uk/news/celebritynews/12102471/David-Bowie-how-a-broken-pint-glass-in-a-Blackheath-pub-changed-the-course-of-music-history.html\">reporting that\u003c/a> “no copy appears to have survived.”\u003c/p>\n\u003cp>Listening to the short 12-second clip (while setting aside its extremely rough production), and taking into account the surfeit of pop-rock talent in the U.K. at the time, it’s not hard, frankly, to imagine why Decca passed on signing The Konrads. If only they could have seen through the pat pop-rock single, to what Bowie would eventually become.\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=David+Bowie%27s+First+Demo%2C+From+1963%2C+Found+In+Bread+Basket&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "The recording, a single recorded by one of Bowie's earliest projects The Konrads, was discovered after 55 years by a former bandmate and will go to auction in September.",
"status": "publish",
"parent": 0,
"modified": 1726704938,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 7,
"wordCount": 333
},
"headData": {
"title": "David Bowie's First Demo, From 1963, Found In Bread Basket | KQED",
"description": "The recording, a single recorded by one of Bowie's earliest projects The Konrads, was discovered after 55 years by a former bandmate and will go to auction in September.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "David Bowie's First Demo, From 1963, Found In Bread Basket",
"datePublished": "2018-07-23T10:54:06-07:00",
"dateModified": "2024-09-18T17:15:38-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Potter",
"nprByline": "Andrew Flanagan",
"nprImageAgency": "Getty Images",
"nprStoryId": "631491229",
"nprApiLink": "http://api.npr.org/query?id=631491229&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "https://www.npr.org/2018/07/23/631491229/david-bowies-first-demo-from-1963-found-in-bread-basket?ft=nprml&f=631491229",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 23 Jul 2018 11:38:00 -0400",
"nprStoryDate": "Mon, 23 Jul 2018 11:38:51 -0400",
"nprLastModifiedDate": "Mon, 23 Jul 2018 11:39:07 -0400",
"path": "/arts/13837533/david-bowies-first-demo-from-1963-found-in-bread-basket",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The earliest recording of \u003ca href=\"https://www.npr.org/artists/15289962/david-bowie\">David Bowie\u003c/a> singing has been unearthed after 55 years in… the bread basket of a former bandmate from one of his earliest projects, The Konrads, according to \u003ca href=\"https://www.theguardian.com/music/2018/jul/23/david-bowies-first-demo-track-discovered-in-old-bread-basket\">\u003cem>The Guardian.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>In a \u003ca href=\"http://www.omegaauctions.co.uk/news-media/news/bowies-first-ever-recording-up-for-auction/\">press release\u003c/a> from Omega Auctions, Konrads drummer David Hadfield writes: “So this became the very first recording of David Jones (Bowie) singing 55 years ago! There is no other recording featuring David as lead in existence. Decca initially turned us down, but when they eventually gave us an auction later that year, vocalist Roger Ferris was the lead voice and David sang backing harmonies.” The recording is part of a group of memorabilia from Bowie’s early career that will include letters, photographs and “promotional sketches.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"BOWIE’S FIRST EVER STUDIO RECORDING UP FOR AUCTION\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/hg7YwHa5Zas?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>In \u003cem>David Bowie: I Was There\u003c/em>, a book of eyewitness accounts of Bowie encounters, the pop legend’s former bandmate Alan Dodds says of the band’s standing in June, 1963 — roughly a few months after the newly discovered demo was recorded — that Bowie, still David Jones at the time, was “the obvious choice” for a frontman. “He could command an audience instantly.” Dodds says he wrote the rejected single, “I Never Dreamed,” and that “Decca declined to offer us a contract and all we were left with was an acetate recording. We disbanded after about a year.” A \u003cem>Telegraph\u003c/em> article from 2016 refers to that recording, \u003ca href=\"https://www.telegraph.co.uk/news/celebritynews/12102471/David-Bowie-how-a-broken-pint-glass-in-a-Blackheath-pub-changed-the-course-of-music-history.html\">reporting that\u003c/a> “no copy appears to have survived.”\u003c/p>\n\u003cp>Listening to the short 12-second clip (while setting aside its extremely rough production), and taking into account the surfeit of pop-rock talent in the U.K. at the time, it’s not hard, frankly, to imagine why Decca passed on signing The Konrads. If only they could have seen through the pat pop-rock single, to what Bowie would eventually become.\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=David+Bowie%27s+First+Demo%2C+From+1963%2C+Found+In+Bread+Basket&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\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/13837533/david-bowies-first-demo-from-1963-found-in-bread-basket",
"authors": [
"byline_arts_13837533"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13837534",
"label": "arts_137"
},
"arts_13837387": {
"type": "posts",
"id": "arts_13837387",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13837387",
"score": null,
"sort": [
1532178019000
]
},
"guestAuthors": [],
"slug": "bridging-disparate-artistic-traditions-to-find-what-unites-people-in-the-bay-area",
"title": "Bridging Disparate Artistic Traditions to Find What Unites People in the Bay Area",
"publishDate": 1532178019,
"format": "audio",
"headTitle": "Bridging Disparate Artistic Traditions to Find What Unites People in the Bay Area | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Perhaps you’ve noticed this attending cultural events in the San Francisco Bay Area: a lack of diversity in the audience. You go to the opera, and you see mostly white people. You go a South Asian concert, and you see mostly South Asian people. And so on and so on.\u003c/p>\n\u003cp>For the last five years, \u003ca href=\"http://sangamarts.net\" target=\"_blank\" rel=\"noopener\">Sangam Arts\u003c/a> has brought artists together from wildly different artistic traditions to co-create. “America is not a melting pot but a mosaic,” says co-founder Usha Srinivasan.\u003c/p>\n\u003cp>“You know, as the Bay Area area gets more diverse, ironically, we are all less integrated because we all tend to live, eat, pray, you know, celebrate within communities that look just like us.” She wants to break down the silos that separate us. “\u003cb>\u003c/b>Peel back the superficial differences that we fixate on and we see that there’s a lot more that we have in common, even as, at the same time, we celebrate our differences,” Srinivasan says.\u003c/p>\n\u003cp>The results can be surprisingly delightful. Watch this performance of an Arabic song, \u003ci>The Flower Seller\u003c/i>, sung by by Hannah Doughri with Lee Dynes on the oud and accompanied by Bharatanatyam dancer Urmila Vudali.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=koLJAbv-mIs]\u003c/p>\n\u003cp>Srinivasan says she’s aware cultural fusions don’t always work well. “We don’t want this to be a cultural safari where it’s like international day at school and people are saying ‘Now we have India, and next up, China!'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She explains, “We’re looking for artists who are also cultural ambassadors, who have a very deep understanding of their own traditions but are also liberal in their outlook towards other cultures.”\u003c/p>\n\u003cp>Co-founder Priya Das also hopes to foster meaningful artistic collaborations with careful curation. “So\u003cb>\u003c/b>\u003cem> \u003c/em>I begin with the question of what is it that is common [between cultures]. The David and Goliath story that you tell your child when she or he goes to bed has a twin in Asia, right? The guitar has its origins elsewhere. Why do people get together? To celebrate? A call for the divine?”\u003c/p>\n\u003cp>Take the upcoming dance concert later this month, focused on the “divine feminine.” Half of the show features the classical South Indian dance form known as Bharatanatyam, courtesy of choreographer and dance teacher \u003ca href=\"http://www.navianatarajan.com\" target=\"_blank\" rel=\"noopener\">Navia Natarajan\u003c/a>, who splits her time between Santa Clara and India.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13837411\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Shekinah_55.jpg\" alt=\"\" width=\"637\" height=\"825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shekinah_55.jpg 637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shekinah_55-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shekinah_55-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shekinah_55-375x486.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shekinah_55-520x673.jpg 520w\" sizes=\"(max-width: 637px) 100vw, 637px\">Bharatanatyam has traditionally expressed spiritual themes and it lends itself to modern explorations with ease. Natarajan says the dance \u003cem>Shakti\u003c/em> she’s developed for this event considers the way we externalize what we should consider internal energies, whether it’s the divine feminine or personal demons.\u003c/p>\n\u003cp>The other half of the show comes courtesy of the contemporary, San Mateo-based \u003ca href=\"https://www.artsunitymovement.com\" target=\"_blank\" rel=\"noopener\">Newground Theatre Dance\u003c/a>. Artistic director Coleen Lorenz created a 40-minute dance story called \u003cem>Shekinah\u003c/em> that considers the way “the system” can throw us off balance. “It can fragment us, and it can move us into episodic moments of rage and misunderstanding.” The main character in the dance moves through that experience to rediscover “the unifying force that’s within each of us.”\u003c/p>\n\u003cp>“Our world gets so compartmentalized and that divine feminine essence is really about seeing underneath that, and what brings us together,” Lorenz adds.\u003c/p>\n\u003cp>Natarajan adds, “What I’ve absorbed from Coleen’s work is that the body conveys so much. When you start working with other art forms, you get influenced by the way they perform it, the way they think.\u003ci>“\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003c/b>Srinivasan and Das hope that proves true for the audience, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Divine Feminine Shakti Shekinah\u003c/strong> will be performed on July 29th at De Anza VPAC in Cupertino. For more information, click \u003ca href=\"http://sangamarts.net/event/divine-feminine-shakti-shekinah/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Sangam Arts creates platforms for artists to collaborate on works that encourage audiences to see \"our common humanity.\"\r\n",
"status": "publish",
"parent": 0,
"modified": 1726771026,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 657
},
"headData": {
"title": "Bridging Disparate Artistic Traditions to Find What Unites People in the Bay Area | KQED",
"description": "Sangam Arts creates platforms for artists to collaborate on works that encourage audiences to see "our common humanity."\r\n",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bridging Disparate Artistic Traditions to Find What Unites People in the Bay Area",
"datePublished": "2018-07-21T06:00:19-07:00",
"dateModified": "2024-09-19T11:37:06-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2018/07/MyrowPerformancesMulti.mp3",
"sticky": false,
"path": "/arts/13837387/bridging-disparate-artistic-traditions-to-find-what-unites-people-in-the-bay-area",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perhaps you’ve noticed this attending cultural events in the San Francisco Bay Area: a lack of diversity in the audience. You go to the opera, and you see mostly white people. You go a South Asian concert, and you see mostly South Asian people. And so on and so on.\u003c/p>\n\u003cp>For the last five years, \u003ca href=\"http://sangamarts.net\" target=\"_blank\" rel=\"noopener\">Sangam Arts\u003c/a> has brought artists together from wildly different artistic traditions to co-create. “America is not a melting pot but a mosaic,” says co-founder Usha Srinivasan.\u003c/p>\n\u003cp>“You know, as the Bay Area area gets more diverse, ironically, we are all less integrated because we all tend to live, eat, pray, you know, celebrate within communities that look just like us.” She wants to break down the silos that separate us. “\u003cb>\u003c/b>Peel back the superficial differences that we fixate on and we see that there’s a lot more that we have in common, even as, at the same time, we celebrate our differences,” Srinivasan says.\u003c/p>\n\u003cp>The results can be surprisingly delightful. Watch this performance of an Arabic song, \u003ci>The Flower Seller\u003c/i>, sung by by Hannah Doughri with Lee Dynes on the oud and accompanied by Bharatanatyam dancer Urmila Vudali.\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/koLJAbv-mIs'\n title='//www.youtube.com/embed/koLJAbv-mIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Srinivasan says she’s aware cultural fusions don’t always work well. “We don’t want this to be a cultural safari where it’s like international day at school and people are saying ‘Now we have India, and next up, China!'”\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>She explains, “We’re looking for artists who are also cultural ambassadors, who have a very deep understanding of their own traditions but are also liberal in their outlook towards other cultures.”\u003c/p>\n\u003cp>Co-founder Priya Das also hopes to foster meaningful artistic collaborations with careful curation. “So\u003cb>\u003c/b>\u003cem> \u003c/em>I begin with the question of what is it that is common [between cultures]. The David and Goliath story that you tell your child when she or he goes to bed has a twin in Asia, right? The guitar has its origins elsewhere. Why do people get together? To celebrate? A call for the divine?”\u003c/p>\n\u003cp>Take the upcoming dance concert later this month, focused on the “divine feminine.” Half of the show features the classical South Indian dance form known as Bharatanatyam, courtesy of choreographer and dance teacher \u003ca href=\"http://www.navianatarajan.com\" target=\"_blank\" rel=\"noopener\">Navia Natarajan\u003c/a>, who splits her time between Santa Clara and India.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13837411\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Shekinah_55.jpg\" alt=\"\" width=\"637\" height=\"825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shekinah_55.jpg 637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shekinah_55-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shekinah_55-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shekinah_55-375x486.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Shekinah_55-520x673.jpg 520w\" sizes=\"(max-width: 637px) 100vw, 637px\">Bharatanatyam has traditionally expressed spiritual themes and it lends itself to modern explorations with ease. Natarajan says the dance \u003cem>Shakti\u003c/em> she’s developed for this event considers the way we externalize what we should consider internal energies, whether it’s the divine feminine or personal demons.\u003c/p>\n\u003cp>The other half of the show comes courtesy of the contemporary, San Mateo-based \u003ca href=\"https://www.artsunitymovement.com\" target=\"_blank\" rel=\"noopener\">Newground Theatre Dance\u003c/a>. Artistic director Coleen Lorenz created a 40-minute dance story called \u003cem>Shekinah\u003c/em> that considers the way “the system” can throw us off balance. “It can fragment us, and it can move us into episodic moments of rage and misunderstanding.” The main character in the dance moves through that experience to rediscover “the unifying force that’s within each of us.”\u003c/p>\n\u003cp>“Our world gets so compartmentalized and that divine feminine essence is really about seeing underneath that, and what brings us together,” Lorenz adds.\u003c/p>\n\u003cp>Natarajan adds, “What I’ve absorbed from Coleen’s work is that the body conveys so much. When you start working with other art forms, you get influenced by the way they perform it, the way they think.\u003ci>“\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003c/b>Srinivasan and Das hope that proves true for the audience, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Divine Feminine Shakti Shekinah\u003c/strong> will be performed on July 29th at De Anza VPAC in Cupertino. For more information, click \u003ca href=\"http://sangamarts.net/event/divine-feminine-shakti-shekinah/\" 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/13837387/bridging-disparate-artistic-traditions-to-find-what-unites-people-in-the-bay-area",
"authors": [
"251"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_966",
"arts_235"
],
"tags": [
"arts_879",
"arts_1118",
"arts_596",
"arts_4642",
"arts_3001",
"arts_5166",
"arts_5165",
"arts_5164"
],
"featImg": "arts_13837405",
"label": "arts_140"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=news": {
"isFetching": false,
"latestQuery": {
"from": 1512,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3721,
"relation": "eq"
},
"items": [
"arts_13838479",
"arts_13838421",
"arts_13838218",
"arts_13838207",
"arts_13838086",
"arts_13838106",
"arts_13838001",
"arts_13837870",
"arts_13837691",
"arts_13837529",
"arts_13837533",
"arts_13837387"
],
"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_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_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_2792": {
"type": "terms",
"id": "arts_2792",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2792",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2804,
"slug": "tv",
"isLoading": false,
"link": "/arts/tag/tv"
},
"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_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_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_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_5397": {
"type": "terms",
"id": "arts_5397",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5397",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area rap",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area rap Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5409,
"slug": "bay-area-rap",
"isLoading": false,
"link": "/arts/tag/bay-area-rap"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"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_3420": {
"type": "terms",
"id": "arts_3420",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3420",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Nef the Pharaoh",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Nef the Pharaoh Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3432,
"slug": "nef-the-pharaoh",
"isLoading": false,
"link": "/arts/tag/nef-the-pharaoh"
},
"arts_974": {
"type": "terms",
"id": "arts_974",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "974",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rap",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rap Archives | KQED Arts",
"ogDescription": null
},
"ttid": 992,
"slug": "rap",
"isLoading": false,
"link": "/arts/tag/rap"
},
"arts_3800": {
"type": "terms",
"id": "arts_3800",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3800",
"found": true
},
"relationships": {},
"featImg": null,
"name": "vallejo",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "vallejo Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3812,
"slug": "vallejo",
"isLoading": false,
"link": "/arts/tag/vallejo"
},
"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_5400": {
"type": "terms",
"id": "arts_5400",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5400",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Burlingame",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Burlingame Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5412,
"slug": "burlingame",
"isLoading": false,
"link": "/arts/tag/burlingame"
},
"arts_3648": {
"type": "terms",
"id": "arts_3648",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3648",
"found": true
},
"relationships": {},
"featImg": null,
"name": "museums",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "museums Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3660,
"slug": "museums",
"isLoading": false,
"link": "/arts/tag/museums"
},
"arts_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_2721": {
"type": "terms",
"id": "arts_2721",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2721",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Santa Rosa",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Santa Rosa Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2733,
"slug": "santa-rosa",
"isLoading": false,
"link": "/arts/tag/santa-rosa"
},
"arts_5391": {
"type": "terms",
"id": "arts_5391",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5391",
"found": true
},
"relationships": {},
"featImg": null,
"name": "china",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "china Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5403,
"slug": "china",
"isLoading": false,
"link": "/arts/tag/china"
},
"arts_2415": {
"type": "terms",
"id": "arts_2415",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2415",
"found": true
},
"relationships": {},
"featImg": null,
"name": "folk music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "folk music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2427,
"slug": "folk-music",
"isLoading": false,
"link": "/arts/tag/folk-music"
},
"arts_3944": {
"type": "terms",
"id": "arts_3944",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3944",
"found": true
},
"relationships": {},
"featImg": null,
"name": "fox theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "fox theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3956,
"slug": "fox-theater",
"isLoading": false,
"link": "/arts/tag/fox-theater"
},
"arts_1270": {
"type": "terms",
"id": "arts_1270",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1270",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1282,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/tag/berkeley"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_15393": {
"type": "terms",
"id": "arts_15393",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15393",
"found": true
},
"relationships": {},
"featImg": null,
"name": "classical",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "classical Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15405,
"slug": "classical",
"isLoading": false,
"link": "/arts/tag/classical"
},
"arts_5108": {
"type": "terms",
"id": "arts_5108",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5108",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Lin-Manuel Miranda",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Lin-Manuel Miranda Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5120,
"slug": "lin-manuel-miranda",
"isLoading": false,
"link": "/arts/tag/lin-manuel-miranda"
},
"arts_5096": {
"type": "terms",
"id": "arts_5096",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5096",
"found": true
},
"relationships": {},
"featImg": null,
"name": "wayne shorter",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "wayne shorter Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5108,
"slug": "wayne-shorter",
"isLoading": false,
"link": "/arts/tag/wayne-shorter"
},
"arts_1346": {
"type": "terms",
"id": "arts_1346",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1346",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Black Panthers",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Black Panthers Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1358,
"slug": "black-panthers",
"isLoading": false,
"link": "/arts/tag/black-panthers"
},
"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_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_1312": {
"type": "terms",
"id": "arts_1312",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1312",
"found": true
},
"relationships": {},
"featImg": null,
"name": "classical music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Immerse yourself in the Bay Area's rich classical music world! KQED brings you news, educational resources, and event listings.",
"metaRobotsNoIndex": "index",
"title": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogDescription": null
},
"ttid": 1324,
"slug": "classical-music",
"isLoading": false,
"link": "/arts/tag/classical-music"
},
"arts_5337": {
"type": "terms",
"id": "arts_5337",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5337",
"found": true
},
"relationships": {},
"featImg": null,
"name": "piano",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "piano Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5349,
"slug": "piano",
"isLoading": false,
"link": "/arts/tag/piano"
},
"arts_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"arts_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_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_879": {
"type": "terms",
"id": "arts_879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dance",
"description": "Covering dance events in the Bay Area and more.",
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Covering dance events in the Bay Area and more.",
"title": "dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 897,
"slug": "dance",
"isLoading": false,
"link": "/arts/tag/dance"
},
"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_5166": {
"type": "terms",
"id": "arts_5166",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5166",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SiliconValley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SiliconValley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5178,
"slug": "siliconvalley",
"isLoading": false,
"link": "/arts/tag/siliconvalley"
},
"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"
}
},
"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
}
}
