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_12822525": {
"type": "attachments",
"id": "arts_12822525",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12822525",
"found": true
},
"parent": 12822524,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705.jpg",
"width": 2048,
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-632013232-a8c49a32888efdfb9bb99d3887f693b20ad06705-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1488147581,
"modified": 1488147581,
"caption": null,
"description": "Bill Paxton attends the People's Choice Awards in Los Angeles last month.",
"title": "Bill Paxton attends the People's Choice Awards in Los Angeles last month.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12813620": {
"type": "attachments",
"id": "arts_12813620",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12813620",
"found": true
},
"parent": 12813612,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24384_16665863_1357100620977462_4069584279260193071_o-qut-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487981220,
"modified": 1487981238,
"caption": "Krista Warner and Paul Stout in a scene from Oleanna, which was playing at the Northside Theatre, before it was flooded following recent rainstorms.",
"description": "Krista Warner and Paul Stout in a scene from Oleanna, which was playing at the Northside Theatre, before it was flooded following recent rainstorms.",
"title": "RS24384_16665863_1357100620977462_4069584279260193071_o-qut",
"credit": "Photo: Courtesy of the Northside Theatre Company",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11339317": {
"type": "attachments",
"id": "arts_11339317",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11339317",
"found": true
},
"parent": 11339191,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Bill-Cosby-smilingCROP-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Bill-Cosby-smilingCROP-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Bill-Cosby-smilingCROP.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Bill-Cosby-smilingCROP-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Bill-Cosby-smilingCROP-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Bill-Cosby-smilingCROP-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Bill-Cosby-smilingCROP-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Bill-Cosby-smilingCROP-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Bill-Cosby-smilingCROP-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Bill-Cosby-smilingCROP-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1455840407,
"modified": 1455840437,
"caption": "Comedian Bill Cosby arrives for a preliminary hearing for sexual assault charges at the Montgomery County Courthouse February 3, 2016 in Norristown, Pennsylvania. ",
"description": "Comedian Bill Cosby arrives for a preliminary hearing for sexual assault charges at the Montgomery County Courthouse February 3, 2016 in Norristown, Pennsylvania. ",
"title": "Bill Cosby Preliminary Hearing",
"credit": "Photo: William Thomas Cain/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12813822": {
"type": "attachments",
"id": "arts_12813822",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12813822",
"found": true
},
"parent": 12813821,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-520x390.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 390
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-375x281.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 281
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5.jpg",
"width": 2048,
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/gettyimages-538805311-23901e7cf5e59ec2bdd85aaf9f134557be8194e5-240x180.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 180
}
},
"publishDate": 1487983116,
"modified": 1487983233,
"caption": "Welcome to Austin, capital of Texas",
"description": "Welcome to Austin, capital of Texas",
"title": "Welcome to Austin, capital of Texas.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12813000": {
"type": "attachments",
"id": "arts_12813000",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12813000",
"found": true
},
"parent": 12812996,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408.jpg",
"width": 2000,
"height": 1125
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/BMP_THE-SOURCE_JAMES-MATTHEW-DANIEL-0103-copy-e1487969715408-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487969575,
"modified": 1487975642,
"caption": "A scene from 'The Source,' an opera by Ted Hearne and Mark Doten",
"description": "A scene from 'The Source,' an opera by Ted Hearne and Mark Doten",
"title": "A scene from 'The Source,' an opera by Ted Hearne and Mark Doten",
"credit": "Photo: James Matthew Daniel/SF Opera",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12812406": {
"type": "attachments",
"id": "arts_12812406",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12812406",
"found": true
},
"parent": 12808122,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut.jpg",
"width": 1024,
"height": 576
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/RS24352_i-NgFDx99-XL-qut-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487958964,
"modified": 1487963083,
"caption": "In 'Airport Insecurity,' produced by Naatak, a Silicon Valley tech worker enters a 48-hour personal nightmare after his travel documents were stolen while he napped at Frankfurt Airport.",
"description": "In 'Airport Insecurity,' produced by Naatak, a Silicon Valley tech worker enters a 48-hour personal nightmare after his travel documents were stolen while he napped at Frankfurt Airport.",
"title": "RS24352_i-NgFDx99-XL-qut",
"credit": "Photo: Courtesy of Sharma Podila",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12809320": {
"type": "attachments",
"id": "arts_12809320",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12809320",
"found": true
},
"parent": 12808330,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Remains-of-Bobs-Mural-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487900274,
"modified": 1487900474,
"caption": "Rhea's Cafe, post-mural",
"description": "Rhea's Cafe, post-mural",
"title": "Remains of Bob's Mural",
"credit": "Photo: Kevin L. Jones/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12808915": {
"type": "attachments",
"id": "arts_12808915",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12808915",
"found": true
},
"parent": 0,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Claude-Monet-Regatta-at-Argenteuil-1872-e1487894658297-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Claude-Monet-Regatta-at-Argenteuil-1872-e1487894658297-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Claude-Monet-Regatta-at-Argenteuil-1872-e1487894658297-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Claude-Monet-Regatta-at-Argenteuil-1872-e1487894658297.jpg",
"width": 525,
"height": 296
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Claude-Monet-Regatta-at-Argenteuil-1872-e1487894658297-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Claude-Monet-Regatta-at-Argenteuil-1872-e1487894658297-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Claude-Monet-Regatta-at-Argenteuil-1872-e1487894658297-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Claude-Monet-Regatta-at-Argenteuil-1872-e1487894658297-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Claude-Monet-Regatta-at-Argenteuil-1872-e1487894658297-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Claude-Monet-Regatta-at-Argenteuil-1872-e1487894658297-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Claude-Monet-Regatta-at-Argenteuil-1872-e1487894658297-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487894532,
"modified": 1487895767,
"caption": "Claude Monet's 'Regatta at Argenteuil,' from 1872, is part of the exhibition 'Monet: The Early Years' at the Legion of Honor in San Francisco.",
"description": "Claude Monet's 'Regatta at Argenteuil,' from 1872, is part of the exhibition 'Monet: The Early Years' at the Legion of Honor in San Francisco.",
"title": "Claude Monet's 'Regatta at Argenteuil,' 1872 is part of the exhibition 'Monet: The Early Years' at the Legion of Honor in San Francisco",
"credit": "Photo: Courtesy of FAMSF",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12713407": {
"type": "attachments",
"id": "arts_12713407",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12713407",
"found": true
},
"parent": 12713026,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814.jpg",
"width": 1080,
"height": 608
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Beyonce-pregnant-e1486070974814-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1486070846,
"modified": 1486070950,
"caption": "Beyoncé pregnancy announcement on Instagram ",
"description": "Beyoncé pregnancy announcement on Instagram ",
"title": "Beyonce pregnant",
"credit": "Courtesy of the artist",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12807915": {
"type": "attachments",
"id": "arts_12807915",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12807915",
"found": true
},
"parent": 12804599,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/LarkinSt-e1487875771267-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/LarkinSt-557x576.jpg",
"width": 557,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/LarkinSt-e1487875771267-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/LarkinSt-557x372.jpg",
"width": 557,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/LarkinSt-e1487875771267-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/LarkinSt-e1487875771267.jpg",
"width": 556,
"height": 313
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/LarkinSt-e1487875771267-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/LarkinSt-e1487875771267-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/LarkinSt-e1487875771267-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/LarkinSt-e1487875771267-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/LarkinSt-e1487875771267-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/LarkinSt-e1487875771267-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/LarkinSt-e1487875771267-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487875569,
"modified": 1487875742,
"caption": "Valerie, a client, and Executive Director Sherilyn Adams at Larkin Street Youth Services, among the first nonprofits to receive displacement mitigation support from San Francisco",
"description": "Valerie, a client, and Executive Director Sherilyn Adams at Larkin Street Youth Services, among the first nonprofits to receive displacement mitigation support from San Francisco",
"title": "Valerie, a client, and Executive Director Sherilyn Adams at Larkin Street Youth Services, among the first nonprofits to receive displacement mitigation support from San Francisco",
"credit": "Photo: Courtesy of Larkin Street Youth Services",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12803818": {
"type": "attachments",
"id": "arts_12803818",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12803818",
"found": true
},
"parent": 12803803,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/Grace-Slick-records-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487802032,
"modified": 1487802262,
"caption": "Grace Slick signs autographs for fans at a handprint ceremony inducting her into the Hollywood Rock Walk",
"description": "Grace Slick signs autographs for fans at a handprint ceremony inducting her into the Hollywood Rock Walk",
"title": "Grace Slick records",
"credit": "(Photo: Vince Bucci/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12799239": {
"type": "attachments",
"id": "arts_12799239",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12799239",
"found": true
},
"parent": 12799235,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK.jpg",
"width": 1047,
"height": 589
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/02/GhostShipMural.VogueTDK-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1487718475,
"modified": 1542325498,
"caption": "The Ghost Ship warehouse fire mural by Norman \"Vogue\" Chuck in Oakland.",
"description": "The Ghost Ship warehouse fire mural by Norman \"Vogue\" Chuck in Oakland",
"title": "GhostShipMural.VogueTDK",
"credit": "Photo: Norman \"Vogue\" Chuck",
"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_12822524": {
"type": "authors",
"id": "byline_arts_12822524",
"meta": {
"override": true
},
"slug": "byline_arts_12822524",
"name": "Colin Dwyer",
"isLoading": false
},
"byline_arts_12813820": {
"type": "authors",
"id": "byline_arts_12813820",
"meta": {
"override": true
},
"slug": "byline_arts_12813820",
"name": "Maryclaire Dale, Associated Press",
"isLoading": false
},
"byline_arts_12813821": {
"type": "authors",
"id": "byline_arts_12813821",
"meta": {
"override": true
},
"slug": "byline_arts_12813821",
"name": "Andrew Flanagan",
"isLoading": false
},
"byline_arts_12808330": {
"type": "authors",
"id": "byline_arts_12808330",
"meta": {
"override": true
},
"slug": "byline_arts_12808330",
"name": "Laura Waxmann",
"isLoading": false
},
"byline_arts_12808126": {
"type": "authors",
"id": "byline_arts_12808126",
"meta": {
"override": true
},
"slug": "byline_arts_12808126",
"name": "Mesfin Fekadu",
"isLoading": false
},
"cmusiker": {
"type": "authors",
"id": "32",
"meta": {
"index": "authors_1716337520",
"id": "32",
"found": true
},
"name": "Cy Musiker",
"firstName": "Cy",
"lastName": "Musiker",
"slug": "cmusiker",
"email": "cmusiker@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Cy Musiker is a former co-host of The Do List and a former reporter covering the arts for KQED News and The California Report. He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.",
"avatar": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cy Musiker | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmusiker"
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"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"
}
},
"pagesReducer": {
"arts_category_news": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"score": 10.815882
},
"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": 205
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=news",
"seeMore": false,
"paginated": true,
"page": 205
}
},
{
"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_12822524": {
"type": "posts",
"id": "arts_12822524",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12822524",
"score": null,
"sort": [
1488148058000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1488148058,
"format": "standard",
"title": "Bill Paxton, Prolific Actor and Star of 'Titanic' and 'Apollo 13,' Dies at 61",
"headTitle": "Bill Paxton, Prolific Actor and Star of ‘Titanic’ and ‘Apollo 13,’ Dies at 61 | KQED",
"content": "\u003cp>\u003cstrong>Updated at 12:38 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Bill Paxton, prolific actor and big-screen fixture for decades, has died at the age of 61. In a statement released to media outlets Sunday, a family representative says Paxton died of complications from surgery.\u003c/p>\n\u003cp>“A loving husband and father, Bill began his career in Hollywood working on films in the art department and went on to have an illustrious career spanning four decades as a beloved and prolific actor and filmmaker,” \u003ca href=\"https://twitter.com/NBCNews/status/835882286449033220\">the statement reads\u003c/a>.\u003c/p>\n\u003cp>“Bill’s passion for the arts was felt by all who knew him, and his warmth and tireless energy were undeniable.”\u003c/p>\n\u003cp>Paxton was perhaps best known for his marquee roles in Hollywood blockbusters. From below the sea, as in \u003cem>Titanic\u003c/em>, to out of this world, as in \u003cem>Aliens\u003c/em> and \u003cem>Apollo 13\u003c/em>, Paxton starred in dozens of films and even directed a handful himself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/tomhanks/status/835896205179817985\u003c/p>\n\u003cp>https://twitter.com/elijahwood/status/835876875926831104\u003c/p>\n\u003cp>More recently, Paxton had been focusing on the small screen. His role as a polygamist in HBO’s \u003cem>Big Love \u003c/em>earned him Emmy and Golden Globe nominations. And Paxton played the lead in the television spin-off of the film \u003cem>Training Day\u003c/em>, which launched on CBS earlier this month. As a corrupt LAPD detective, Paxton tackled the kind of moral ambiguity that characterized some of his most memorable roles.\u003c/p>\n\u003cp>Based on the reaction from many of his colleagues, those who worked with the beloved actor felt no such ambivalence about the man himself.\u003c/p>\n\u003cp>What may risk going unnoticed, though, is the sheer effort Paxton would put into his roles. In a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=99985715\" target=\"_blank\" rel=\"noopener\">2009 interview with Fresh Air’s Terry Gross\u003c/a>, Paxton explained his process while filming \u003cem>Big Love\u003c/em>.\u003c/p>\n\u003cp>“I live kind of a monastic existence. I usually stay in a hotel,” Paxton said, noting that he would spend his evenings memorizing his lines for the next day. “Every night I have five or six pages I have to learn. I don’t know if my memory is starting to fail me, but I really have to get it down cold the night before.”\u003c/p>\n\u003cp>Paxton added: “My technique is kind of like the errant schoolboy who has to stay after school and write ‘I will not talk in class’ on the chalkboard. I write it over and over, again and again, until I find I understand the character I’m playing.”\u003c/p>\n\u003cp>And though he left Texas when he was still in his teens to pursue his acting career, Paxton said he carried some crucial lessons with him that he’d learned from his father, who was a hardwood salesman.\u003c/p>\n\u003cp>“Look, I’ve been an actor most of my adult life, and you certainly have to know how to sell yourself to get on in this profession. … But it’s not a phony thing. My dad sold a good product — you know, these hardwoods were used to make everything from musical instruments to beautiful furniture and every use in between.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He had integrity about the thing he was selling,” Paxton continued. “And I certainly picked that up from him.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Paxton%2C+Prolific+Actor+And+Star+Of+%27Titanic%27+And+%27Apollo+13%2C%27+Dies+At+61&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 553,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705031422,
"excerpt": "Paxton was perhaps best known for his roles in Hollywood blockbusters, but he also took starring turns in TV series like \u003cem>Big Love\u003c/em> and \u003cem>Training Day.\u003c/em>",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Paxton was perhaps best known for his roles in Hollywood blockbusters, but he also took starring turns in TV series like Big Love and Training Day.",
"title": "Bill Paxton, Prolific Actor and Star of 'Titanic' and 'Apollo 13,' Dies at 61 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bill Paxton, Prolific Actor and Star of 'Titanic' and 'Apollo 13,' Dies at 61",
"datePublished": "2017-02-26T14:27:38-08:00",
"dateModified": "2024-01-11T19:50:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bill-paxton-prolific-actor-and-star-of-titanic-and-apollo-13-dies-at-61",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=517353433&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Colin Dwyer",
"nprStoryDate": "Sun, 26 Feb 2017 11:44:00 -0500",
"nprLastModifiedDate": "Sun, 26 Feb 2017 12:43:17 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2017/02/26/517353433/bill-paxton-prolific-actor-and-star-of-titanic-and-apollo-13-dies-at-61?ft=nprml&f=517353433",
"nprImageAgency": "Getty Images for People's Choice Awards",
"nprImageCredit": "Emma McIntyre",
"nprStoryId": "517353433",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 26 Feb 2017 12:43:00 -0500",
"path": "/arts/12822524/bill-paxton-prolific-actor-and-star-of-titanic-and-apollo-13-dies-at-61",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 12:38 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Bill Paxton, prolific actor and big-screen fixture for decades, has died at the age of 61. In a statement released to media outlets Sunday, a family representative says Paxton died of complications from surgery.\u003c/p>\n\u003cp>“A loving husband and father, Bill began his career in Hollywood working on films in the art department and went on to have an illustrious career spanning four decades as a beloved and prolific actor and filmmaker,” \u003ca href=\"https://twitter.com/NBCNews/status/835882286449033220\">the statement reads\u003c/a>.\u003c/p>\n\u003cp>“Bill’s passion for the arts was felt by all who knew him, and his warmth and tireless energy were undeniable.”\u003c/p>\n\u003cp>Paxton was perhaps best known for his marquee roles in Hollywood blockbusters. From below the sea, as in \u003cem>Titanic\u003c/em>, to out of this world, as in \u003cem>Aliens\u003c/em> and \u003cem>Apollo 13\u003c/em>, Paxton starred in dozens of films and even directed a handful himself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "835896205179817985"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "835876875926831104"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>More recently, Paxton had been focusing on the small screen. His role as a polygamist in HBO’s \u003cem>Big Love \u003c/em>earned him Emmy and Golden Globe nominations. And Paxton played the lead in the television spin-off of the film \u003cem>Training Day\u003c/em>, which launched on CBS earlier this month. As a corrupt LAPD detective, Paxton tackled the kind of moral ambiguity that characterized some of his most memorable roles.\u003c/p>\n\u003cp>Based on the reaction from many of his colleagues, those who worked with the beloved actor felt no such ambivalence about the man himself.\u003c/p>\n\u003cp>What may risk going unnoticed, though, is the sheer effort Paxton would put into his roles. In a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=99985715\" target=\"_blank\" rel=\"noopener\">2009 interview with Fresh Air’s Terry Gross\u003c/a>, Paxton explained his process while filming \u003cem>Big Love\u003c/em>.\u003c/p>\n\u003cp>“I live kind of a monastic existence. I usually stay in a hotel,” Paxton said, noting that he would spend his evenings memorizing his lines for the next day. “Every night I have five or six pages I have to learn. I don’t know if my memory is starting to fail me, but I really have to get it down cold the night before.”\u003c/p>\n\u003cp>Paxton added: “My technique is kind of like the errant schoolboy who has to stay after school and write ‘I will not talk in class’ on the chalkboard. I write it over and over, again and again, until I find I understand the character I’m playing.”\u003c/p>\n\u003cp>And though he left Texas when he was still in his teens to pursue his acting career, Paxton said he carried some crucial lessons with him that he’d learned from his father, who was a hardwood salesman.\u003c/p>\n\u003cp>“Look, I’ve been an actor most of my adult life, and you certainly have to know how to sell yourself to get on in this profession. … But it’s not a phony thing. My dad sold a good product — you know, these hardwoods were used to make everything from musical instruments to beautiful furniture and every use in between.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He had integrity about the thing he was selling,” Paxton continued. “And I certainly picked that up from him.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Paxton%2C+Prolific+Actor+And+Star+Of+%27Titanic%27+And+%27Apollo+13%2C%27+Dies+At+61&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12822524/bill-paxton-prolific-actor-and-star-of-titanic-and-apollo-13-dies-at-61",
"authors": [
"byline_arts_12822524"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12822525",
"label": "arts_137"
},
"arts_12813612": {
"type": "posts",
"id": "arts_12813612",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12813612",
"score": null,
"sort": [
1487990495000
]
},
"guestAuthors": [],
"slug": "san-joses-northside-theatre-flooded",
"title": "San Jose's Northside Theatre Flooded",
"publishDate": 1487990495,
"format": "standard",
"headTitle": "San Jose’s Northside Theatre Flooded | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>As the flood waters subside in San Jose, the situation looks muddy for the \u003ca href=\"http://northsidetheatre.com/\" target=\"_blank\" rel=\"noopener\">Northside Theatre Company\u003c/a>. The theater, in its 38th season, is located close to Coyote Creek, and nobody is allowed in without an official escort.\u003c/p>\n\u003cp>Managing Artistic Director Meredith King has been in to assess the situation and says the city will assess the flood damage and handle the cleanup. “I’m told it should take several weeks,” she says. For now, she’s busy reading the fine print on the theatre’s insurance policy. “We have an indemnity policy against injury. More than that, I don’t know.”\u003c/p>\n\u003cp>The theatre immediately canceled future performances of David Mamet’s \u003cem>Oleanna\u003c/em>, which had been scheduled to run through March 5. But a neighborhood savior turned up in the form of the \u003ca href=\"https://www.thestage.org/\" target=\"_blank\" rel=\"noopener\">San Jose Stage Company\u003c/a>, which offered its venue for two nights: March 3 and March 4.\u003c/p>\n\u003cp>“We would not be fulfilling our mission if we did not open our doors to them,” said spokesman Clinton Williams. “Community and collaboration is at the heart of our organization.”\u003c/p>\n\u003cfigure id=\"attachment_12813622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12813622\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-800x451.jpg\" alt=\"The Northside Theatre Company, less than a week before the building was flooded.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Northside Theatre Company, less than a week before the building was flooded. \u003ccite>(Photo: Courtesy of the Northside Theatre Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans are encouraged to visit Northside’s \u003ca href=\"https://www.facebook.com/Northside-Theatre-Company-157250677629135\" target=\"_blank\" rel=\"noopener\">Facebook \u003c/a>page for updates. Numerous commenters expressed sympathy for the theater, including Anne Gelhaus of San Jose: “Please let me know if you need clean-up volunteers,” she wrote. “I hope there’s not too much mucking out to be done.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Northside is accepting donations towards its recovery efforts at this \u003ca href=\"https://www.paypal.com/donate/?token=rqi1WMoggoWX940fj5bBawuDk9LpNlFAlulAsvdhe5mDnqrO_B_zQRRbujPiOD8CssSCeW\" target=\"_blank\" rel=\"noopener\">PayPal\u003c/a> site.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Northside Theatre Company in San Jose has been shut down until further notice due to flooding.",
"status": "publish",
"parent": 0,
"modified": 1726707834,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 282
},
"headData": {
"title": "San Jose's Northside Theatre Flooded | KQED",
"description": "The Northside Theatre Company in San Jose has been shut down until further notice due to flooding.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "San Jose's Northside Theatre Flooded",
"datePublished": "2017-02-24T18:41:35-08:00",
"dateModified": "2024-09-18T18:03:54-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12813612/san-joses-northside-theatre-flooded",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the flood waters subside in San Jose, the situation looks muddy for the \u003ca href=\"http://northsidetheatre.com/\" target=\"_blank\" rel=\"noopener\">Northside Theatre Company\u003c/a>. The theater, in its 38th season, is located close to Coyote Creek, and nobody is allowed in without an official escort.\u003c/p>\n\u003cp>Managing Artistic Director Meredith King has been in to assess the situation and says the city will assess the flood damage and handle the cleanup. “I’m told it should take several weeks,” she says. For now, she’s busy reading the fine print on the theatre’s insurance policy. “We have an indemnity policy against injury. More than that, I don’t know.”\u003c/p>\n\u003cp>The theatre immediately canceled future performances of David Mamet’s \u003cem>Oleanna\u003c/em>, which had been scheduled to run through March 5. But a neighborhood savior turned up in the form of the \u003ca href=\"https://www.thestage.org/\" target=\"_blank\" rel=\"noopener\">San Jose Stage Company\u003c/a>, which offered its venue for two nights: March 3 and March 4.\u003c/p>\n\u003cp>“We would not be fulfilling our mission if we did not open our doors to them,” said spokesman Clinton Williams. “Community and collaboration is at the heart of our organization.”\u003c/p>\n\u003cfigure id=\"attachment_12813622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12813622\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-800x451.jpg\" alt=\"The Northside Theatre Company, less than a week before the building was flooded.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24383_16585451_264429013978892_2294837962971545600_n-qut.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Northside Theatre Company, less than a week before the building was flooded. \u003ccite>(Photo: Courtesy of the Northside Theatre Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans are encouraged to visit Northside’s \u003ca href=\"https://www.facebook.com/Northside-Theatre-Company-157250677629135\" target=\"_blank\" rel=\"noopener\">Facebook \u003c/a>page for updates. Numerous commenters expressed sympathy for the theater, including Anne Gelhaus of San Jose: “Please let me know if you need clean-up volunteers,” she wrote. “I hope there’s not too much mucking out to be done.”\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>\u003cem>Northside is accepting donations towards its recovery efforts at this \u003ca href=\"https://www.paypal.com/donate/?token=rqi1WMoggoWX940fj5bBawuDk9LpNlFAlulAsvdhe5mDnqrO_B_zQRRbujPiOD8CssSCeW\" target=\"_blank\" rel=\"noopener\">PayPal\u003c/a> site.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12813612/san-joses-northside-theatre-flooded",
"authors": [
"251"
],
"categories": [
"arts_1",
"arts_235",
"arts_967"
],
"tags": [
"arts_596"
],
"featImg": "arts_12813620",
"label": "arts"
},
"arts_12813820": {
"type": "posts",
"id": "arts_12813820",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12813820",
"score": null,
"sort": [
1487983781000
]
},
"guestAuthors": [],
"slug": "bill-cosby-wont-face-a-barrage-of-accusers-at-his-trial",
"title": "Bill Cosby Won't Face a Barrage of Accusers at his Trial",
"publishDate": 1487983781,
"format": "standard",
"headTitle": "Bill Cosby Won’t Face a Barrage of Accusers at his Trial | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>In a major break for Bill Cosby, a judge ruled Friday that just one of the comedian’s multitude of other accusers can testify at his trial to bolster charges he drugged and violated a woman more than a decade ago.\u003c/p>\n\u003cp>The 79-year-old TV star is set to go on trial in June, accused of sexually assaulting former Temple University employee Andrea Constand at his suburban Philadelphia home in 2004. Prosecutors wanted to put 13 other women on the stand to show that his alleged conduct was part of a distinct pattern of behavior.\u003c/p>\n\u003cp>Montgomery County Judge Steven O’Neill disallowed all but one of those women, saying in a one-page ruling that he carefully weighed the possible value of their testimony against the potential prejudice to Cosby.\u003c/p>\n\u003cp>The one witness who can testify says the comic drugged and assaulted her in 1996 at a Los Angeles hotel.\u003c/p>\n\u003cp>Cosby’s lawyer had no immediate comment, but the actor himself re-tweeted news stories on the ruling, adding the hashtags “#KeepWatching” and “#PayAttention.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With O’Neill’s order, the trial will now rest more heavily on Constand’s credibility.\u003c/p>\n\u003cp>“There is an obvious value to the prosecution when you have numerous accusers. That alone adds tremendous weight to the case,” said lawyer Joseph McGettigan, a prosecutor in the Penn State sex abuse scandal.\u003c/p>\n\u003cp>The ruling could also shave weeks off the trial.\u003c/p>\n\u003cp>Cosby, who is free on $1 million bail, could get 10 years in prison if convicted. He is expected in court again Monday to ask that the jurors be selected from another county because of the heavy publicity.\u003c/p>\n\u003cp>Prosecutors compiled the list of 13 potential witnesses from the nearly 50 women who have come forward in recent years to say they were drugged and molested — a barrage that destroyed Cosby’s good-guy reputation as the star of TV’s \u003cem>Cosby Show\u003c/em> in the 1980s.\u003c/p>\n\u003cp>His lawyers objected to the testimony about “prior bad acts,” saying that in some cases the sex was consensual, while others involved models and actresses falsely accusing Cosby to gain money or attention.\u003c/p>\n\u003cp>His attorneys also argued that some of the allegations were so vague — with some of the women unsure of when the alleged encounters even took place — that it would be impossible for Cosby to defend himself.\u003c/p>\n\u003cp>While the ruling is a big victory for Cosby at his trial, it could deprive him of grounds for appeal if he is convicted. In 2015, a Pennsylvania appeals court threw out a Roman Catholic Church official’s conviction because the jury was allowed to hear from 23 priest-abuse victims who were not directly part of the case.\u003c/p>\n\u003cp>“It’s the best of times and the worst of times for Cosby. It gives the defendant the opportunity to try the case that should be tried, the lone accuser,” said defense lawyer William J. Brennan, who was involved in the church case. “If it doesn’t go his way, he probably is limited on appellate issues. However, I’d take this, hands down, over the alternative.”\u003c/p>\n\u003cp>The ruling is one of two key pretrial issues in the case. The judge earlier ruled that the jury can hear Cosby’s damaging testimony from Constand’s 2005 lawsuit against the comedian.\u003c/p>\n\u003cp>Cosby’s deposition runs to nearly 1,000 pages and covers a string of extramarital liaisons dating to the 1960s. It was the release of the sealed testimony in 2015 that led prosecutors to reopen the case.\u003c/p>\n\u003cp>Constand told police he gave her three unmarked pills and then penetrated her with his fingers as she drifted in and out of consciousness. The comedian has said the sexual contact was consensual.\u003c/p>\n\u003cp>The additional accuser who can testify worked for one of Cosby’s agents and had known the entertainer for six years when he invited her to lunch at his bungalow at the Bel Air Hotel to discuss her career plans.\u003c/p>\n\u003cp>She said he was in a robe and slippers when she arrived and offered her wine and a pill that she consumed after he assured her it was safe. She said he then sexually assaulted her on his bed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Among the other accusers who won’t be allowed to testify, one said she was an aspiring actress when Cosby assaulted her at a home near Reno, Nevada, in 1984. Another said Cosby drugged and assaulted her in the late 1960s after befriending her and her 9-year-old son.\u003c/p>\n\n",
"blocks": [],
"excerpt": "A judge ruled Friday that just one of the comedian's multitude of other accusers can testify in his trial",
"status": "publish",
"parent": 0,
"modified": 1726707840,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 780
},
"headData": {
"title": "Bill Cosby Won't Face a Barrage of Accusers at his Trial | KQED",
"description": "A judge ruled Friday that just one of the comedian's multitude of other accusers can testify in his trial",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bill Cosby Won't Face a Barrage of Accusers at his Trial",
"datePublished": "2017-02-24T16:49:41-08:00",
"dateModified": "2024-09-18T18:04:00-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Maryclaire Dale, Associated Press",
"path": "/arts/12813820/bill-cosby-wont-face-a-barrage-of-accusers-at-his-trial",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a major break for Bill Cosby, a judge ruled Friday that just one of the comedian’s multitude of other accusers can testify at his trial to bolster charges he drugged and violated a woman more than a decade ago.\u003c/p>\n\u003cp>The 79-year-old TV star is set to go on trial in June, accused of sexually assaulting former Temple University employee Andrea Constand at his suburban Philadelphia home in 2004. Prosecutors wanted to put 13 other women on the stand to show that his alleged conduct was part of a distinct pattern of behavior.\u003c/p>\n\u003cp>Montgomery County Judge Steven O’Neill disallowed all but one of those women, saying in a one-page ruling that he carefully weighed the possible value of their testimony against the potential prejudice to Cosby.\u003c/p>\n\u003cp>The one witness who can testify says the comic drugged and assaulted her in 1996 at a Los Angeles hotel.\u003c/p>\n\u003cp>Cosby’s lawyer had no immediate comment, but the actor himself re-tweeted news stories on the ruling, adding the hashtags “#KeepWatching” and “#PayAttention.”\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>With O’Neill’s order, the trial will now rest more heavily on Constand’s credibility.\u003c/p>\n\u003cp>“There is an obvious value to the prosecution when you have numerous accusers. That alone adds tremendous weight to the case,” said lawyer Joseph McGettigan, a prosecutor in the Penn State sex abuse scandal.\u003c/p>\n\u003cp>The ruling could also shave weeks off the trial.\u003c/p>\n\u003cp>Cosby, who is free on $1 million bail, could get 10 years in prison if convicted. He is expected in court again Monday to ask that the jurors be selected from another county because of the heavy publicity.\u003c/p>\n\u003cp>Prosecutors compiled the list of 13 potential witnesses from the nearly 50 women who have come forward in recent years to say they were drugged and molested — a barrage that destroyed Cosby’s good-guy reputation as the star of TV’s \u003cem>Cosby Show\u003c/em> in the 1980s.\u003c/p>\n\u003cp>His lawyers objected to the testimony about “prior bad acts,” saying that in some cases the sex was consensual, while others involved models and actresses falsely accusing Cosby to gain money or attention.\u003c/p>\n\u003cp>His attorneys also argued that some of the allegations were so vague — with some of the women unsure of when the alleged encounters even took place — that it would be impossible for Cosby to defend himself.\u003c/p>\n\u003cp>While the ruling is a big victory for Cosby at his trial, it could deprive him of grounds for appeal if he is convicted. In 2015, a Pennsylvania appeals court threw out a Roman Catholic Church official’s conviction because the jury was allowed to hear from 23 priest-abuse victims who were not directly part of the case.\u003c/p>\n\u003cp>“It’s the best of times and the worst of times for Cosby. It gives the defendant the opportunity to try the case that should be tried, the lone accuser,” said defense lawyer William J. Brennan, who was involved in the church case. “If it doesn’t go his way, he probably is limited on appellate issues. However, I’d take this, hands down, over the alternative.”\u003c/p>\n\u003cp>The ruling is one of two key pretrial issues in the case. The judge earlier ruled that the jury can hear Cosby’s damaging testimony from Constand’s 2005 lawsuit against the comedian.\u003c/p>\n\u003cp>Cosby’s deposition runs to nearly 1,000 pages and covers a string of extramarital liaisons dating to the 1960s. It was the release of the sealed testimony in 2015 that led prosecutors to reopen the case.\u003c/p>\n\u003cp>Constand told police he gave her three unmarked pills and then penetrated her with his fingers as she drifted in and out of consciousness. The comedian has said the sexual contact was consensual.\u003c/p>\n\u003cp>The additional accuser who can testify worked for one of Cosby’s agents and had known the entertainer for six years when he invited her to lunch at his bungalow at the Bel Air Hotel to discuss her career plans.\u003c/p>\n\u003cp>She said he was in a robe and slippers when she arrived and offered her wine and a pill that she consumed after he assured her it was safe. She said he then sexually assaulted her on his bed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Among the other accusers who won’t be allowed to testify, one said she was an aspiring actress when Cosby assaulted her at a home near Reno, Nevada, in 1984. Another said Cosby drugged and assaulted her in the late 1960s after befriending her and her 9-year-old son.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12813820/bill-cosby-wont-face-a-barrage-of-accusers-at-his-trial",
"authors": [
"byline_arts_12813820"
],
"categories": [
"arts_968",
"arts_74",
"arts_235",
"arts_990"
],
"tags": [
"arts_596",
"arts_1427"
],
"featImg": "arts_11339317",
"label": "arts"
},
"arts_12813821": {
"type": "posts",
"id": "arts_12813821",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12813821",
"score": null,
"sort": [
1487983257000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1487983257,
"format": "standard",
"title": "The Struggles of Austin's Music Scene Mirror a Widened World",
"headTitle": "The Struggles of Austin’s Music Scene Mirror a Widened World | KQED",
"content": "\u003cp>The Austin music industry isn’t whole. The business underlying “The Live Music Capital of the World” stands bifurcated between its lucrative festivals (SXSW principally, but Austin City Limits, Fun Fun Fun Fest and others, too) and, as studies have found, a dwindling local music scene. Austin didn’t become the self-styled “Capital” solely by hosting a handful of gargantuan events, which were first born from and since have capitalized handsomely on Austin’s brand to increase their now-global footprints, which have drawn outsized attention to the city. These large events and a rapidly expanding population have put an unintended strain on the infrastructure of the local music scene which helped create them and on which they still rely — it’s hard to throw innumerable shows, as during SXSW, in a city with fewer and fewer venues to put them in.\u003c/p>\n\u003cp>Austin musicians’ “main source of income,” says Don Pitts, is “through live performance. Anyone who’s been keeping an eye on live performance on a local level sees that it’s continuing to go down year after year.” As the founding face of the city government’s Music and Entertainment Office, Pitts has been in a centralized orbit around the problem of trying to balance these disparate sides of Austin’s coin.\u003c/p>\n\u003cp>Since mid-January, Pitts, who began working for the city in 2010, has also been mired in a mini-controversy after being placed on paid administrative leave pending an investigation by the Office of the City Auditor. Last week, as the \u003ca href=\"http://www.mystatesman.com/news/local-govt--politics/city-music-manager-don-pitts-resigns-while-administrative-leave/q2644QpQYgVE83hcBZbwIL/\">\u003cem>Austin-American Statesman \u003c/em>reported\u003c/a>, he resigned. On Feb. 20, city auditors \u003ca href=\"http://www.austinmonitor.com/wp-content/uploads/2017/02/InvestigationReport_EDD_Failure_to_Report_Wrongdoing.pdf\">made public\u003c/a> their findings — that Pitts had not properly reported to his superiors the existence of a circuitous and fraudulent scheme by an employee set on getting reimbursed for $2,500 in travel costs to a business conference.\u003c/p>\n\u003cp>The investigation, while precipitating Pitts’ resignation, was hardly damning — he’s already back on the job. (At least for the next two months.)\u003cstrong> \u003c/strong>“I was happy to see the relationship wasn’t ending as abruptly as I thought when I read his letter of resignation,” Austin Mayor Steve Adler tells NPR. “I’m convinced that Don remains committed to this city, to keeping it special, to growing the music industry vertically, so that you can play in your garage at 16, in a club at 22 and be in your early 40s and still support your family [while working in music].” (SXSW also sent a letter on his behalf — as did his counterpart in Seattle.)\u003c/p>\n\u003cp>During his seven years inside Austin’s city government, Pitts was something of a trailblazer, tasked with diagnosing and treating the many problems facing the music economy, large and small, there. In no small part, Pitts’ work culminated in the voluminous \u003ca href=\"http://projects.statesman.com/documents/?doc=2090887-austin-music-census-2015\">Austin Music Census\u003c/a> he commissioned and released in 2015. It found that, as revenues continued to grow for the larger events, the city was bleeding jobs within the local music economy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We were seeing a real decline across the board in what we called our primary music economy. At the same time, we were seeing an uptick in revenue from the festival economy. SXSW, Austin City Limits — those folks were doing really well,” says Jennifer Houlihan. She is the former executive director of a local music industry advocacy group, Austin Music People, and now the director of business development of a local music business, Nomad Sound. Houlihan worked with Pitts during her time with Austin Music People.\u003c/p>\n\u003cp>“As Austin has become more expensive and attractive — particularly to tech companies,” she continues, “a lot of our folks [members of the local music industry] that work for tips and minimum wage can’t afford it anymore.” She says the city is losing its largely middle-class creative folks to the suburbs.\u003c/p>\n\u003cfigure id=\"attachment_12813823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-800x600.jpg\" alt=\"Former President Barack Obama attends South by Southwest Interactive for a conversation with Evan Smith, Editor-in-Chief and CEO of the Texas Tribune news service\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former President Barack Obama attends South by Southwest Interactive for a conversation with Evan Smith, Editor-in-Chief and CEO of the Texas Tribune news service \u003ccite>(Photo: Erich Schlegel/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a very real and useful way, the division within Austin’s local music industry can be taken as a microcosm of the effects that technological globalization has on artists and creators. As the world of information — whether music, news, photography, writing — flattens from the top down, with global distribution readily available to anyone via technology, it may be getting less interesting from the ground up, as those same forces draw money away from the local scenes that have long incubated the creativity that people eventually enjoy globally. Similar parallels \u003ca href=\"https://techcrunch.com/2015/05/24/patronbook/\">have\u003c/a> been \u003ca href=\"http://www.slate.com/articles/technology/technology/2016/11/the_problem_with_facebook_runs_much_deeper_than_fake_news.html\">drawn\u003c/a> between Facebook, which controls — curates, directs, if you prefer — much of what content people consume online … but pays for none of its creation. Facebook and SXSW, disparate as they are, seem cut from a similar quilt in this context.\u003c/p>\n\u003cp>Tech companies like Apple, Google and Facebook — which all have significant footprints in Austin — receive a lot of the blame for Austin’s culture crunch. As Mayor Adler pointed out, their employees are typically paid well, allowing them to bid very competitively on housing. “It’s kind of like musical chairs,” he says. “When 40 people are bidding on the only house that’s available, that price is gonna go way up.”\u003c/p>\n\u003cp>But of course, any city would welcome a reliable, well-paying and internationally known employer coming to their town — much as it would welcome an event like SXSW, which brings a similar economic impact to the city as “hosting the Super Bowl every year,” Pitts says.\u003c/p>\n\u003cp>As well, these companies “contribute money into non-profits and community efforts,” Adler points out.\u003c/p>\n\u003cp>Again, Austin-as-microcosm. Technology isn’t going anywhere, but without a focus on grassroots creation and local vibrancy, much of its distributive value may wither, as creators are barred from growing into their own.\u003c/p>\n\u003cp>How to address the flattening? “We’re no different,” Pitts tells NPR, “than Seattle, or Chicago, even Nashville for that matter, if you focus on that local scene. If the industry is globalized, if technology has globalized the ecosystem, then you’ve got to think globally in return. I think that’s where a lot of cities, including Austin, fall short.”\u003c/p>\n\u003cp>To that end — and as that letter written on his behalf from the director of Seattle’s Office of Film, Music and Special Events attests — Pitts fostered an informal coalition of knowledge sharing among cities having similar problems, to learn from each others’ mistakes and replicate their successes. If the dominant methods of engagement go high, local scenes must keep their center of gravity low in response — picture the interlocking lattice of a safety net. It kind of resembles … a social network.\u003c/p>\n\u003cp>Pitts, however, is no longer bullish on the ability of city governments alone to protect their cultural petri dishes. He plans on moving into the private sector. Asked whether the private sector is not the source of many of these problems, Pitts is pragmatic. “It is,” he says, “but they also have a part to play. Identifying what part they play is key.” Pitts hopes to act as a consultant to cities, and as a bridge between them and the more efficient private-sector systems that could reconcile the global and the local. It may be the only way forward.\u003c/p>\n\u003cp>As Bobby Garza, a former chief of staff to city council member Mike Martinez as well as general manager of the promoter Transmission Events, the company responsible for Fun Fun Fun Fest, puts it: “Music is such an integral part of the cultural fabric here that people assume it’s just always going to be here. Part of our challenge as music advocates is to say actually, it might not be.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Replace “here” in Garza’s quote with “everywhere” — the worry remains the same. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Struggles+Of+Austin%27s+Music+Scene+Mirror+A+Widened+World&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1392,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705031433,
"excerpt": "As the face of Austin's music office prepares to depart, the city's problems and successes may offer a lesson for the world at large about globalization and technology.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "As the face of Austin's music office prepares to depart, the city's problems and successes may offer a lesson for the world at large about globalization and technology.",
"title": "The Struggles of Austin's Music Scene Mirror a Widened World | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Struggles of Austin's Music Scene Mirror a Widened World",
"datePublished": "2017-02-24T16:40:57-08:00",
"dateModified": "2024-01-11T19:50:33-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-struggles-of-austins-music-scene-mirror-a-widened-world",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=516904340&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andrew Flanagan",
"nprStoryDate": "Fri, 24 Feb 2017 08:00:00 -0500",
"nprLastModifiedDate": "Fri, 24 Feb 2017 13:27:22 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/therecord/2017/02/24/516904340/the-struggles-of-austins-music-scene-mirror-a-widened-world?ft=nprml&f=516904340",
"nprImageAgency": "Moment Editorial/Getty Images",
"nprImageCredit": "David Kozlowski",
"nprStoryId": "516904340",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 24 Feb 2017 13:27:00 -0500",
"path": "/arts/12813821/the-struggles-of-austins-music-scene-mirror-a-widened-world",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Austin music industry isn’t whole. The business underlying “The Live Music Capital of the World” stands bifurcated between its lucrative festivals (SXSW principally, but Austin City Limits, Fun Fun Fun Fest and others, too) and, as studies have found, a dwindling local music scene. Austin didn’t become the self-styled “Capital” solely by hosting a handful of gargantuan events, which were first born from and since have capitalized handsomely on Austin’s brand to increase their now-global footprints, which have drawn outsized attention to the city. These large events and a rapidly expanding population have put an unintended strain on the infrastructure of the local music scene which helped create them and on which they still rely — it’s hard to throw innumerable shows, as during SXSW, in a city with fewer and fewer venues to put them in.\u003c/p>\n\u003cp>Austin musicians’ “main source of income,” says Don Pitts, is “through live performance. Anyone who’s been keeping an eye on live performance on a local level sees that it’s continuing to go down year after year.” As the founding face of the city government’s Music and Entertainment Office, Pitts has been in a centralized orbit around the problem of trying to balance these disparate sides of Austin’s coin.\u003c/p>\n\u003cp>Since mid-January, Pitts, who began working for the city in 2010, has also been mired in a mini-controversy after being placed on paid administrative leave pending an investigation by the Office of the City Auditor. Last week, as the \u003ca href=\"http://www.mystatesman.com/news/local-govt--politics/city-music-manager-don-pitts-resigns-while-administrative-leave/q2644QpQYgVE83hcBZbwIL/\">\u003cem>Austin-American Statesman \u003c/em>reported\u003c/a>, he resigned. On Feb. 20, city auditors \u003ca href=\"http://www.austinmonitor.com/wp-content/uploads/2017/02/InvestigationReport_EDD_Failure_to_Report_Wrongdoing.pdf\">made public\u003c/a> their findings — that Pitts had not properly reported to his superiors the existence of a circuitous and fraudulent scheme by an employee set on getting reimbursed for $2,500 in travel costs to a business conference.\u003c/p>\n\u003cp>The investigation, while precipitating Pitts’ resignation, was hardly damning — he’s already back on the job. (At least for the next two months.)\u003cstrong> \u003c/strong>“I was happy to see the relationship wasn’t ending as abruptly as I thought when I read his letter of resignation,” Austin Mayor Steve Adler tells NPR. “I’m convinced that Don remains committed to this city, to keeping it special, to growing the music industry vertically, so that you can play in your garage at 16, in a club at 22 and be in your early 40s and still support your family [while working in music].” (SXSW also sent a letter on his behalf — as did his counterpart in Seattle.)\u003c/p>\n\u003cp>During his seven years inside Austin’s city government, Pitts was something of a trailblazer, tasked with diagnosing and treating the many problems facing the music economy, large and small, there. In no small part, Pitts’ work culminated in the voluminous \u003ca href=\"http://projects.statesman.com/documents/?doc=2090887-austin-music-census-2015\">Austin Music Census\u003c/a> he commissioned and released in 2015. It found that, as revenues continued to grow for the larger events, the city was bleeding jobs within the local music economy.\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>“We were seeing a real decline across the board in what we called our primary music economy. At the same time, we were seeing an uptick in revenue from the festival economy. SXSW, Austin City Limits — those folks were doing really well,” says Jennifer Houlihan. She is the former executive director of a local music industry advocacy group, Austin Music People, and now the director of business development of a local music business, Nomad Sound. Houlihan worked with Pitts during her time with Austin Music People.\u003c/p>\n\u003cp>“As Austin has become more expensive and attractive — particularly to tech companies,” she continues, “a lot of our folks [members of the local music industry] that work for tips and minimum wage can’t afford it anymore.” She says the city is losing its largely middle-class creative folks to the suburbs.\u003c/p>\n\u003cfigure id=\"attachment_12813823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-800x600.jpg\" alt=\"Former President Barack Obama attends South by Southwest Interactive for a conversation with Evan Smith, Editor-in-Chief and CEO of the Texas Tribune news service\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former President Barack Obama attends South by Southwest Interactive for a conversation with Evan Smith, Editor-in-Chief and CEO of the Texas Tribune news service \u003ccite>(Photo: Erich Schlegel/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a very real and useful way, the division within Austin’s local music industry can be taken as a microcosm of the effects that technological globalization has on artists and creators. As the world of information — whether music, news, photography, writing — flattens from the top down, with global distribution readily available to anyone via technology, it may be getting less interesting from the ground up, as those same forces draw money away from the local scenes that have long incubated the creativity that people eventually enjoy globally. Similar parallels \u003ca href=\"https://techcrunch.com/2015/05/24/patronbook/\">have\u003c/a> been \u003ca href=\"http://www.slate.com/articles/technology/technology/2016/11/the_problem_with_facebook_runs_much_deeper_than_fake_news.html\">drawn\u003c/a> between Facebook, which controls — curates, directs, if you prefer — much of what content people consume online … but pays for none of its creation. Facebook and SXSW, disparate as they are, seem cut from a similar quilt in this context.\u003c/p>\n\u003cp>Tech companies like Apple, Google and Facebook — which all have significant footprints in Austin — receive a lot of the blame for Austin’s culture crunch. As Mayor Adler pointed out, their employees are typically paid well, allowing them to bid very competitively on housing. “It’s kind of like musical chairs,” he says. “When 40 people are bidding on the only house that’s available, that price is gonna go way up.”\u003c/p>\n\u003cp>But of course, any city would welcome a reliable, well-paying and internationally known employer coming to their town — much as it would welcome an event like SXSW, which brings a similar economic impact to the city as “hosting the Super Bowl every year,” Pitts says.\u003c/p>\n\u003cp>As well, these companies “contribute money into non-profits and community efforts,” Adler points out.\u003c/p>\n\u003cp>Again, Austin-as-microcosm. Technology isn’t going anywhere, but without a focus on grassroots creation and local vibrancy, much of its distributive value may wither, as creators are barred from growing into their own.\u003c/p>\n\u003cp>How to address the flattening? “We’re no different,” Pitts tells NPR, “than Seattle, or Chicago, even Nashville for that matter, if you focus on that local scene. If the industry is globalized, if technology has globalized the ecosystem, then you’ve got to think globally in return. I think that’s where a lot of cities, including Austin, fall short.”\u003c/p>\n\u003cp>To that end — and as that letter written on his behalf from the director of Seattle’s Office of Film, Music and Special Events attests — Pitts fostered an informal coalition of knowledge sharing among cities having similar problems, to learn from each others’ mistakes and replicate their successes. If the dominant methods of engagement go high, local scenes must keep their center of gravity low in response — picture the interlocking lattice of a safety net. It kind of resembles … a social network.\u003c/p>\n\u003cp>Pitts, however, is no longer bullish on the ability of city governments alone to protect their cultural petri dishes. He plans on moving into the private sector. Asked whether the private sector is not the source of many of these problems, Pitts is pragmatic. “It is,” he says, “but they also have a part to play. Identifying what part they play is key.” Pitts hopes to act as a consultant to cities, and as a bridge between them and the more efficient private-sector systems that could reconcile the global and the local. It may be the only way forward.\u003c/p>\n\u003cp>As Bobby Garza, a former chief of staff to city council member Mike Martinez as well as general manager of the promoter Transmission Events, the company responsible for Fun Fun Fun Fest, puts it: “Music is such an integral part of the cultural fabric here that people assume it’s just always going to be here. Part of our challenge as music advocates is to say actually, it might not be.”\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>Replace “here” in Garza’s quote with “everywhere” — the worry remains the same. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Struggles+Of+Austin%27s+Music+Scene+Mirror+A+Widened+World&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12813821/the-struggles-of-austins-music-scene-mirror-a-widened-world",
"authors": [
"byline_arts_12813821"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1119",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12813822",
"label": "arts_137"
},
"arts_12812996": {
"type": "posts",
"id": "arts_12812996",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12812996",
"score": null,
"sort": [
1487975727000
]
},
"guestAuthors": [],
"slug": "an-operatic-take-on-wikileaks-and-chelsea-manning",
"title": "An Operatic Take on Wikileaks and Chelsea Manning",
"publishDate": 1487975727,
"format": "standard",
"headTitle": "An Operatic Take on Wikileaks and Chelsea Manning | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>There’s a category of opera called “CNN Opera,” describing a production about a modern political event or movement. Berkeley composer John Adams and working partner Peter Sellars \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">perfected the form\u003c/a> in operas like \u003cem>The Death of Klinghoffer \u003c/em>and\u003cem> Nixon in China\u003c/em> — both of which comment on recent history.\u003c/p>\n\u003cp>[contextly_sidebar id=”l0SPNemcGZC6IybW81hfPas2w4NIBRSG”]\u003c/p>\n\u003cp>Now, to that list we can add \u003ca href=\"https://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Source\u003c/em>\u003c/a>, opening Feb. 24 in San Francisco. The opera, by composer \u003ca href=\"http://www.tedhearne.com/\" target=\"_blank\" rel=\"noopener\">Ted Hearne \u003c/a>and librettist \u003ca href=\"http://www.markdoten.com/\" target=\"_blank\" rel=\"noopener\">Mark Doten\u003c/a>, explores transgender soldier \u003ca href=\"https://www.nytimes.com/2017/01/17/us/politics/obama-commutes-bulk-of-chelsea-mannings-sentence.html\" target=\"_blank\" rel=\"noopener\">Chelsea Manning’s\u003c/a> decision to disclose hundreds of thousands of classified and sensitive documents about the U.S. war in Iraq to Wikileaks. Hearne (who teaches composition at U.S.C.) and Doten tell their story with an auditory collage built out of news reports, Twitter blasts, emails between Manning and a hacker, and excerpts from the leaked documents — all sung by a group of vocalists using a lot of Autotune.\u003c/p>\n\u003cfigure id=\"attachment_12813003\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12813003\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185.jpg\" alt=\"Ted Hearne, composer of ‘The Source’\" width=\"450\" height=\"313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185-375x261.jpg 375w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Ted Hearne, composer of ‘The Source.’ \u003ccite>(Photo: Nathan Lee Bush)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story is all the more compelling after former President Obama’s decision to pardon Manning, and after Wikileaks went from being seen as a hero of the left to its villain by distributing hacked emails from Democratic National Committee officials during the 2016 campaign. This is not your grandmother’s opera, but if she marched recently wearing a pussy hat she crocheted herself, bring her along. \u003c/p>\n\u003cp>https://vimeo.com/115441535\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>‘The Source’ runs Feb. 24–March 3 at the Taube Atrium Theater. Details for the show, presented by the San Francisco Opera Lab, are \u003ca href=\"https://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Can surveillance and soprano arias coexist? Topical opera 'The Source,' about Wikileaks and Chelsea Manning, opens at SF Opera this week to find out.",
"status": "publish",
"parent": 0,
"modified": 1726785725,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 277
},
"headData": {
"title": "An Operatic Take on Wikileaks and Chelsea Manning | KQED",
"description": "Can surveillance and soprano arias coexist? Topical opera 'The Source,' about Wikileaks and Chelsea Manning, opens at SF Opera this week to find out.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "An Operatic Take on Wikileaks and Chelsea Manning",
"datePublished": "2017-02-24T14:35:27-08:00",
"dateModified": "2024-09-19T15:42:05-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12812996/an-operatic-take-on-wikileaks-and-chelsea-manning",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a category of opera called “CNN Opera,” describing a production about a modern political event or movement. Berkeley composer John Adams and working partner Peter Sellars \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">perfected the form\u003c/a> in operas like \u003cem>The Death of Klinghoffer \u003c/em>and\u003cem> Nixon in China\u003c/em> — both of which comment on recent history.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Now, to that list we can add \u003ca href=\"https://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Source\u003c/em>\u003c/a>, opening Feb. 24 in San Francisco. The opera, by composer \u003ca href=\"http://www.tedhearne.com/\" target=\"_blank\" rel=\"noopener\">Ted Hearne \u003c/a>and librettist \u003ca href=\"http://www.markdoten.com/\" target=\"_blank\" rel=\"noopener\">Mark Doten\u003c/a>, explores transgender soldier \u003ca href=\"https://www.nytimes.com/2017/01/17/us/politics/obama-commutes-bulk-of-chelsea-mannings-sentence.html\" target=\"_blank\" rel=\"noopener\">Chelsea Manning’s\u003c/a> decision to disclose hundreds of thousands of classified and sensitive documents about the U.S. war in Iraq to Wikileaks. Hearne (who teaches composition at U.S.C.) and Doten tell their story with an auditory collage built out of news reports, Twitter blasts, emails between Manning and a hacker, and excerpts from the leaked documents — all sung by a group of vocalists using a lot of Autotune.\u003c/p>\n\u003cfigure id=\"attachment_12813003\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12813003\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185.jpg\" alt=\"Ted Hearne, composer of ‘The Source’\" width=\"450\" height=\"313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Ted-Hearne-c-Nathan-Lee-Bush-3-copy-e1487970415185-375x261.jpg 375w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Ted Hearne, composer of ‘The Source.’ \u003ccite>(Photo: Nathan Lee Bush)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story is all the more compelling after former President Obama’s decision to pardon Manning, and after Wikileaks went from being seen as a hero of the left to its villain by distributing hacked emails from Democratic National Committee officials during the 2016 campaign. This is not your grandmother’s opera, but if she marched recently wearing a pussy hat she crocheted herself, bring her along. \u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "vimeoLink",
"attributes": {
"named": {
"vimeoId": "115441535"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>‘The Source’ runs Feb. 24–March 3 at the Taube Atrium Theater. Details for the show, presented by the San Francisco Opera Lab, are \u003ca href=\"https://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12812996/an-operatic-take-on-wikileaks-and-chelsea-manning",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_1006",
"arts_596",
"arts_1334",
"arts_626"
],
"featImg": "arts_12813000",
"label": "arts_140"
},
"arts_12808122": {
"type": "posts",
"id": "arts_12808122",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12808122",
"score": null,
"sort": [
1487966454000
]
},
"guestAuthors": [],
"slug": "silicon-valley-theatre-scene-bristles-with-political-edge-in-the-age-of-trump",
"title": "Silicon Valley Theatre Scene Bristles with Political Edge in the Age of Trump",
"publishDate": 1487966454,
"format": "audio",
"headTitle": "Silicon Valley Theatre Scene Bristles with Political Edge in the Age of Trump | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>In 2011, Vikas Dhurka made a stupid mistake. The playwright and tech industry worker fell asleep in the Lufthansa business lounge at Frankfurt Airport — with his phone, wallet and all his travel documents sitting on the table next to him. When he woke up, they were all gone. What followed was a misadventure so dramatic, Dhurka decided to transform his experience into a new play, \u003cem>Airport Insecurity\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Although the Silicon Valley-based Naatak theater company didn’t originally intend the play to have political consequences, artistic director Sujit Saraf says it now speaks to a visceral fear people have about their ability to travel in to and out of the United States. “Once you start coming for people for weird reasons which have to do with their race or religion or ethnic background, at some point, no one is safe,” Saraf says.\u003c/p>\n\u003ch3>A travel nightmare\u003c/h3>\n\u003cp>Dhurka is an Indian citizen, working in the United States on a green card as the senior director of product marketing at \u003ca href=\"https://www.pixelworks.com/\" target=\"_blank\" rel=\"noopener\">Pixelworks\u003c/a>, a semiconductor company. At the time of his misadventure, Dhurka had lived and worked in Silicon Valley for more than a decade. But without the documents proving he belonged in the U.S., he was told to book a flight to India and prepare for a long wait — up to two months. You can just imagine the phone call to his heavily pregnant wife in Fremont, about to give birth to their first child, alone.\u003c/p>\n\u003cfigure id=\"attachment_12812407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12812407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-800x450.jpg\" alt=\"Priya Kumar, played by Devika Ashok, waits impatiently by the phone as her husband struggles to get back home in Airport Insecurity, produced by the Santa Clara-based theater company Naatak.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Priya Kumar, played by Devika Ashok, waits impatiently by the phone as her husband struggles to get back home in ‘Airport Insecurity,’ produced by the Santa Clara-based theater company Naatak. \u003ccite>(Photo: Courtesy of Sharma Podila)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fortunately, after 48 harrowing hours in Frankfurt, a friendly agent from the U.S. Department of Homeland Security helped Dhurka make it back in time for the birth of his baby boy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But now, with President Trump’s administration targeting a growing list of people, as well as the \u003ca href=\"http://money.cnn.com/2017/02/05/technology/trump-h1b-visas-executive-order/\" target=\"_blank\" rel=\"noopener\">H-1B visa program\u003c/a> tech companies use to employ thousands of Indians, the Indian community in the San Francisco Bay Area is on edge. “A document becomes your identity in a land that you kinda don’t belong in,” Dhurka says. “And once that piece of paper goes away, you’re a nobody!”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/309428405″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003ch3>Silicon Valley theater takes stronger political edge\u003c/h3>\n\u003cp>Current events have made Naatak’s play feel politically prescient. But the \u003ca href=\"https://thepear.org/\" target=\"_blank\" rel=\"noopener\">Pear Theatre\u003c/a> in Mountain View was looking for something overtly political when it scheduled Arthur Miller’s \u003cem>A View From the Bridge\u003c/em> last November, during the run-up to the election.\u003c/p>\n\u003cp>In the below 1987 interview with the BBC, Arthur Miller describes the context of the Italian community depicted in the play, including a large number of illegal immigrants. “They felt themselves separated from the vast majority of Americans,” Miller says, “by language, by background, and on the waterfront, by the kind of work they did.” But their compatriots were starving in Italy. “America was all there was.”\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=45bMF3rKAh8]\u003c/p>\n\u003cp>\u003cem>A View From the Bridge\u003c/em> tells the story of Eddie, who provides safe haven to two illegal immigrants related to his wife until one takes a shine to his niece.\u003c/p>\n\u003cp>Director Ray Renati loves the way the themes in this classic reverberate with present-day politics, and not just on the issue of immigration. “Eddie’s a bully,” Renati says. “No one dares to go against anything that Eddie says, or he will make sure that you pay. Donald Trump does the same thing.”\u003c/p>\n\u003cp>With \u003cem>A View From the Bridge\u003c/em>, Arthur Miller’s politically astute storytelling feels as compelling today as it was in 1955, when the play was written.\u003c/p>\n\u003cp>In a similar vein, Ayad Ahktar’s Pulitzer Prize-winning \u003cem>Disgraced\u003c/em> feels ripped from the headlines. Though it was written long before Trump’s proposed Muslim ban, the drama bristles with rage and despair, as the progressive, liberal, well-to-do Muslim-American character at the play’s center buckles under the weight of prejudice. It’s not an accident \u003cem>Disgraced\u003c/em> is one of the country’s most produced plays, according to American Theatre Magazine’s annual \u003ca href=\"http://www.americantheatre.org/2015/09/16/the-top-10-most-produced-plays-of-the-2015-16-season/\" target=\"_blank\" rel=\"noopener\">Top 10 List\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12812600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12812600\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-800x449.jpg\" alt=\"A Manhattan dinner party starts off in a celebratory mood, before the conversation devolves into tribal politics, in Disgraced, finishing a run at the San Jose Stage Company.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Manhattan dinner party starts off in a celebratory mood, before the conversation devolves into tribal politics, in Disgraced, finishing a run at the San Jose Stage Company. \u003ccite>(Photo: Courtesy of Dave Lepori)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Disgraced\u003c/em> is currently finishing its run at the \u003ca href=\"https://www.thestage.org/\" target=\"_blank\" rel=\"noopener\">San Jose Stage Company\u003c/a>, where artistic director Randall King says American culture is at a critical boiling point, and the theater, because it’s nimble and visceral, is well-equipped to foster an enlightened political discussion. “We have to say something,” King says. “We have to do something. I don’t think I’ve felt this sense of urgency, ever.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Naatak’s ‘Airport Insecurity’ runs through Saturday, Mar. 4, 2017 at the Cubberley Theatre in Palo Alto. More info \u003ca href=\"http://www.naatak.com/buy-tickets/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>‘A View From the Bridge’ runs through Sunday, Apr. 2, 2017 at the Pear Theatre in Mountain View. More info \u003ca href=\"https://thepear.org/boxoffice\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Disgraced’ runs through Sunday, Feb. 26, 2017 at The Stage in San Jose. More info \u003ca href=\"https://www.thestage.org/tickets/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Silicon Valley theater companies discover that plays scheduled months ago resonate with the current political moment.",
"status": "publish",
"parent": 0,
"modified": 1726785727,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 955
},
"headData": {
"title": "Silicon Valley Theatre Scene Bristles with Political Edge in the Age of Trump | KQED",
"description": "Silicon Valley theater companies discover that plays scheduled months ago resonate with the current political moment.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Silicon Valley Theatre Scene Bristles with Political Edge in the Age of Trump",
"datePublished": "2017-02-24T12:00:54-08:00",
"dateModified": "2024-09-19T15:42:07-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "http://www.kqed.org/.stream/anon/radio/tcrmag/2017/02/2017-02-24c-tcrmag.mp3",
"guestFields": "0",
"sticky": false,
"path": "/arts/12808122/silicon-valley-theatre-scene-bristles-with-political-edge-in-the-age-of-trump",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2011, Vikas Dhurka made a stupid mistake. The playwright and tech industry worker fell asleep in the Lufthansa business lounge at Frankfurt Airport — with his phone, wallet and all his travel documents sitting on the table next to him. When he woke up, they were all gone. What followed was a misadventure so dramatic, Dhurka decided to transform his experience into a new play, \u003cem>Airport Insecurity\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Although the Silicon Valley-based Naatak theater company didn’t originally intend the play to have political consequences, artistic director Sujit Saraf says it now speaks to a visceral fear people have about their ability to travel in to and out of the United States. “Once you start coming for people for weird reasons which have to do with their race or religion or ethnic background, at some point, no one is safe,” Saraf says.\u003c/p>\n\u003ch3>A travel nightmare\u003c/h3>\n\u003cp>Dhurka is an Indian citizen, working in the United States on a green card as the senior director of product marketing at \u003ca href=\"https://www.pixelworks.com/\" target=\"_blank\" rel=\"noopener\">Pixelworks\u003c/a>, a semiconductor company. At the time of his misadventure, Dhurka had lived and worked in Silicon Valley for more than a decade. But without the documents proving he belonged in the U.S., he was told to book a flight to India and prepare for a long wait — up to two months. You can just imagine the phone call to his heavily pregnant wife in Fremont, about to give birth to their first child, alone.\u003c/p>\n\u003cfigure id=\"attachment_12812407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12812407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-800x450.jpg\" alt=\"Priya Kumar, played by Devika Ashok, waits impatiently by the phone as her husband struggles to get back home in Airport Insecurity, produced by the Santa Clara-based theater company Naatak.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Priya Kumar, played by Devika Ashok, waits impatiently by the phone as her husband struggles to get back home in ‘Airport Insecurity,’ produced by the Santa Clara-based theater company Naatak. \u003ccite>(Photo: Courtesy of Sharma Podila)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fortunately, after 48 harrowing hours in Frankfurt, a friendly agent from the U.S. Department of Homeland Security helped Dhurka make it back in time for the birth of his baby boy.\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>But now, with President Trump’s administration targeting a growing list of people, as well as the \u003ca href=\"http://money.cnn.com/2017/02/05/technology/trump-h1b-visas-executive-order/\" target=\"_blank\" rel=\"noopener\">H-1B visa program\u003c/a> tech companies use to employ thousands of Indians, the Indian community in the San Francisco Bay Area is on edge. “A document becomes your identity in a land that you kinda don’t belong in,” Dhurka says. “And once that piece of paper goes away, you’re a nobody!”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/309428405″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/309428405″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>Silicon Valley theater takes stronger political edge\u003c/h3>\n\u003cp>Current events have made Naatak’s play feel politically prescient. But the \u003ca href=\"https://thepear.org/\" target=\"_blank\" rel=\"noopener\">Pear Theatre\u003c/a> in Mountain View was looking for something overtly political when it scheduled Arthur Miller’s \u003cem>A View From the Bridge\u003c/em> last November, during the run-up to the election.\u003c/p>\n\u003cp>In the below 1987 interview with the BBC, Arthur Miller describes the context of the Italian community depicted in the play, including a large number of illegal immigrants. “They felt themselves separated from the vast majority of Americans,” Miller says, “by language, by background, and on the waterfront, by the kind of work they did.” But their compatriots were starving in Italy. “America was all there was.”\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/45bMF3rKAh8'\n title='//www.youtube.com/embed/45bMF3rKAh8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>A View From the Bridge\u003c/em> tells the story of Eddie, who provides safe haven to two illegal immigrants related to his wife until one takes a shine to his niece.\u003c/p>\n\u003cp>Director Ray Renati loves the way the themes in this classic reverberate with present-day politics, and not just on the issue of immigration. “Eddie’s a bully,” Renati says. “No one dares to go against anything that Eddie says, or he will make sure that you pay. Donald Trump does the same thing.”\u003c/p>\n\u003cp>With \u003cem>A View From the Bridge\u003c/em>, Arthur Miller’s politically astute storytelling feels as compelling today as it was in 1955, when the play was written.\u003c/p>\n\u003cp>In a similar vein, Ayad Ahktar’s Pulitzer Prize-winning \u003cem>Disgraced\u003c/em> feels ripped from the headlines. Though it was written long before Trump’s proposed Muslim ban, the drama bristles with rage and despair, as the progressive, liberal, well-to-do Muslim-American character at the play’s center buckles under the weight of prejudice. It’s not an accident \u003cem>Disgraced\u003c/em> is one of the country’s most produced plays, according to American Theatre Magazine’s annual \u003ca href=\"http://www.americantheatre.org/2015/09/16/the-top-10-most-produced-plays-of-the-2015-16-season/\" target=\"_blank\" rel=\"noopener\">Top 10 List\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12812600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12812600\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-800x449.jpg\" alt=\"A Manhattan dinner party starts off in a celebratory mood, before the conversation devolves into tribal politics, in Disgraced, finishing a run at the San Jose Stage Company.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Manhattan dinner party starts off in a celebratory mood, before the conversation devolves into tribal politics, in Disgraced, finishing a run at the San Jose Stage Company. \u003ccite>(Photo: Courtesy of Dave Lepori)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Disgraced\u003c/em> is currently finishing its run at the \u003ca href=\"https://www.thestage.org/\" target=\"_blank\" rel=\"noopener\">San Jose Stage Company\u003c/a>, where artistic director Randall King says American culture is at a critical boiling point, and the theater, because it’s nimble and visceral, is well-equipped to foster an enlightened political discussion. “We have to say something,” King says. “We have to do something. I don’t think I’ve felt this sense of urgency, ever.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Naatak’s ‘Airport Insecurity’ runs through Saturday, Mar. 4, 2017 at the Cubberley Theatre in Palo Alto. More info \u003ca href=\"http://www.naatak.com/buy-tickets/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>‘A View From the Bridge’ runs through Sunday, Apr. 2, 2017 at the Pear Theatre in Mountain View. More info \u003ca href=\"https://thepear.org/boxoffice\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Disgraced’ runs through Sunday, Feb. 26, 2017 at The Stage in San Jose. More info \u003ca href=\"https://www.thestage.org/tickets/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12808122/silicon-valley-theatre-scene-bristles-with-political-edge-in-the-age-of-trump",
"authors": [
"251"
],
"categories": [
"arts_1",
"arts_235"
],
"tags": [
"arts_1642",
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_12812406",
"label": "arts"
},
"arts_12808330": {
"type": "posts",
"id": "arts_12808330",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12808330",
"score": null,
"sort": [
1487901021000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 1545
},
"blocks": [],
"publishDate": 1487901021,
"format": "standard",
"title": "Landlord Orders Removal of Bob's Burger Mural from Rhea's Cafe",
"headTitle": "Landlord Orders Removal of Bob’s Burger Mural from Rhea’s Cafe | KQED",
"content": "\u003cp>The owner of the building on 20th Street that houses the sandwich shop Rhea’s Cafe has forced the removal of a Sirron Norris mural that depicted characters from \u003cem>Bob’s Burgers\u003c/em>, a popular animated Fox TV sitcom.\u003c/p>\n\u003cp>[contextly_sidebar id=”NSIDFl1COuJppOO7btFBW6EHwiogUULw”]\u003c/p>\n\u003cp>Fearing copyright infringement, the building’s owner enlisted Rhea’s executive chef and owner, James Choi, to paint over the four-month-old mural that had decorated its front roll-up doors. The mural of a couple embracing lovingly, depicted the show’s main characters, husband and wife duo Bob and Linda Belcher.\u003c/p>\n\u003cp>Norris, a local street artist who was once a tenant in the building that houses Rhea’s Cafe, is also the lead illustrator of the \u003cem>Bob’s Burgers\u003c/em> sitcom.\u003c/p>\n\u003cp>“The producer [Loren Bouchard], who Sirron met, lived on 20th Street, a couple of blocks from here,” said Choi. “So that show was conceived right on this street.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://missionlocal.org/2017/02/sirron-norris-mural-using-bobs-burgers-ordered-removed-by-landlord/\" target=\"_blank\" rel=\"noopener\">Read more at Mission Local\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 171,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705031447,
"excerpt": "The owner of the 20th Street sandwich shop that houses Rhea’s Cafe has forced the removal of a Sirron Norris mural",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The owner of the 20th Street sandwich shop that houses Rhea’s Cafe has forced the removal of a Sirron Norris mural",
"title": "Landlord Orders Removal of Bob's Burger Mural from Rhea's Cafe | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Landlord Orders Removal of Bob's Burger Mural from Rhea's Cafe",
"datePublished": "2017-02-23T17:50:21-08:00",
"dateModified": "2024-01-11T19:50:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "landlord-orders-removal-of-bobs-burger-mural-from-rheas-cafe",
"status": "publish",
"nprByline": "Laura Waxmann",
"sticky": false,
"path": "/arts/12808330/landlord-orders-removal-of-bobs-burger-mural-from-rheas-cafe",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The owner of the building on 20th Street that houses the sandwich shop Rhea’s Cafe has forced the removal of a Sirron Norris mural that depicted characters from \u003cem>Bob’s Burgers\u003c/em>, a popular animated Fox TV sitcom.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Fearing copyright infringement, the building’s owner enlisted Rhea’s executive chef and owner, James Choi, to paint over the four-month-old mural that had decorated its front roll-up doors. The mural of a couple embracing lovingly, depicted the show’s main characters, husband and wife duo Bob and Linda Belcher.\u003c/p>\n\u003cp>Norris, a local street artist who was once a tenant in the building that houses Rhea’s Cafe, is also the lead illustrator of the \u003cem>Bob’s Burgers\u003c/em> sitcom.\u003c/p>\n\u003cp>“The producer [Loren Bouchard], who Sirron met, lived on 20th Street, a couple of blocks from here,” said Choi. “So that show was conceived right on this street.”\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>\u003ca href=\"https://missionlocal.org/2017/02/sirron-norris-mural-using-bobs-burgers-ordered-removed-by-landlord/\" target=\"_blank\" rel=\"noopener\">Read more at Mission Local\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12808330/landlord-orders-removal-of-bobs-burger-mural-from-rheas-cafe",
"authors": [
"byline_arts_12808330"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_1545"
],
"featImg": "arts_12809320",
"label": "arts_1545"
},
"arts_12808921": {
"type": "posts",
"id": "arts_12808921",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12808921",
"score": null,
"sort": [
1487898941000
]
},
"guestAuthors": [],
"slug": "do-list-musical-notes-from-native-california-trance-blues-and-bell-x1s-high-flying-pop",
"title": "Cy and David's Picks: Musical Notes from Native California, Trance Blues, and Bell X1's High-Flying Pop",
"publishDate": 1487898941,
"format": "standard",
"headTitle": "Cy and David’s Picks: Musical Notes from Native California, Trance Blues, and Bell X1’s High-Flying Pop | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/02/TDL20170224.mp3\u003c/p>\n\u003cp>The list is long this week for amazing stuff we couldn’t fit in the show. Yiddish songbird \u003ca href=\"http://www.heatherklein.net/\" target=\"_blank\" rel=\"noopener\">Heather Klein\u003c/a> premieres \u003ca href=\"https://ww2.kqed.org/arts/2017/02/21/with-shanghai-angel-heather-klein-tells-a-timely-refugee-tale/\" target=\"_blank\" rel=\"noopener\">her new one–woman musical, \u003cem>Shanghai Angel\u003c/em>\u003c/a>, about her grandmother’s emigration from Austria to Shanghai to America through Angel Island. It’s Feb. 26\u003ca href=\"https://www.thecjm.org/programs/55\" target=\"_blank\" rel=\"noopener\"> at the Contemporary Jewish Museum.\u003c/a> \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.naatak.com/\" target=\"_blank\" rel=\"noopener\">Naatak \u003c/a>opens the very timely play \u003cem>Airport Insecurity, \u003c/em>a Trump-esque tale of an Indian techie stuck at an airport in immigration limbo. It’s \u003ca href=\"http://www.naatak.com/\" target=\"_blank\" rel=\"noopener\">at the Cubberley Community Center in Palo Alto\u003c/a>, running Feb. 24-March 4. And for the ultimate in cool and classical, \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates \u003c/a>DJs and directs one of his\u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.mercurysoul.org/\" target=\"_blank\" rel=\"noopener\"> Mercury Soul \u003c/a>shows on Feb. 24, called \u003cem>Baroque & Beats\u003c/em> at the \u003ca href=\"https://www.dnalounge.com/calendar/2017/02-24.html\" target=\"_blank\" rel=\"noopener\">DNA Lounge\u003c/a>. Now for the show.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0TJPYb1KxXc\u003c/p>\n\u003cp>\u003cstrong>Feb. 24–25\u003c/strong>: \u003ca href=\"https://www.otistaylor.com/index.html\" target=\"_blank\" rel=\"noopener\">Otis Taylor\u003c/a>’s new album, \u003cem>Fantasizing about Being Black,\u003c/em> is about the history of the African American experience, from the slave ships to the Mississippi Delta, and the blues music that was born of those influences. Taylor has always recognized that the blues are a form of protest music, and there’s plenty of comment here on the racism that endures in America today. He’s got a great band, too, with Anne Harris on violin. Details for his two shows at Biscuits and Blues are \u003ca href=\"http://biscuitsandblues.com/otistaylorband\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12808918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-800x472.jpg\" alt=\"Monet's 'Pointe de la Heve.' part of the exhibition at the Legion of Honor in San Francisco\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-1020x601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve.jpg 1523w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monet’s ‘Pointe de la Heve.’ part of the exhibition at the Legion of Honor in San Francisco. \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 28–May 29:\u003c/strong> The French painter \u003ca href=\"http://www.sfgate.com/local/article/Monet-comes-to-San-Francisco-s-Legion-of-Honor-10921548.php\" target=\"_blank\" rel=\"noopener\">Claude Monet \u003c/a>is most famous for his huge water lily paintings, done late in life. But we get a new perspective on the French artist in a show coming to the Legion of Honor called \u003cem>Monet: the Early Years,\u003c/em> with 60 paintings demonstrating a period in the mid-19th century when the artist was part of a generation re-inventing painting. “I didn’t become an impressionist,” the catalog quotes Monet. “As long as I can remember I always have been one.” He was always, as well, a master of color and a lover of landscapes. What a treat to see this first major U.S. exhibition devoted to Monet’s early works. Details for the show are \u003ca href=\"https://legionofhonor.famsf.org/monet-early-yearsand\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12808523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/002-800x600.jpg\" alt=\"Kanyon Sayers Rood sings with the Oakland Symphony in its program 'Notes from Native California'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kanyon Sayers Rood sings with the Oakland Symphony in its program ‘Notes from Native California.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 24\u003c/strong>: The Oakland Symphony is presenting its annual concert celebrating world music traditions, and this year Conductor Michael Morgan sticks close to home with a program called \u003cem>Notes from Native California\u003c/em>. Among the pieces is \u003cem>Big Sur: The Night Sun\u003c/em>, by John Wineglass, featuring the voice of Ohlone/Chumash singer \u003ca href=\"http://nativenewsonline.net/currents/ohlonechumash-artist-kanyon-sayers-roods-exhibits-gathering-tribes/\" target=\"_blank\" rel=\"noopener\">Kanyon Sayers-Roods\u003c/a>, whose amazing soprano voice I first heard a few weeks ago at the \u003ca href=\"https://www.ifhurbanrez.org/\" target=\"_blank\" rel=\"noopener\">Intertribal Friendship House \u003c/a>in Oakland. Sayers-Roods told me she makes up her own songs, and quotes her mom on how they’re not traditional, but still authentic. “My mother goes, ‘That is spirit. Those are our ancestors speaking through you. That is your culture being awakened. That is truth,'” Sayers-Roods said. “Because my mother and my grandmother have always shared a quote, ‘When song, ceremony and dance stop, so does the earth,’ and I too believe that.” She’s just one of the highlights for a concert that also features Shostakovitch’s Ninth Symphony. \u003ca href=\"https://www.oaklandsymphony.org/event-category/tickets-\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://vimeo.com/115441535\u003c/p>\n\u003cp>\u003cstrong>Feb. 24–March 3\u003c/strong>: There’s a category called CNN Opera, describing a musical about a modern political event or movement. Think \u003cem>\u003ca href=\"https://www.earbox.com/the-death-of-klinghoffer/\" target=\"_blank\" rel=\"noopener\">The Death of Klinghoffer\u003c/a>\u003c/em> by John Adams and Alice Goodman, or \u003ca href=\"https://en.wikipedia.org/wiki/X,_The_Life_and_Times_of_Malcolm_X\" target=\"_blank\" rel=\"noopener\">\u003cem>The Life and Times of Malcolm X\u003c/em>\u003c/a> by Anthony Davis. Now added to that list is \u003cem>The Source\u003c/em>, from 2016, about soldier \u003ca href=\"https://www.nytimes.com/2017/01/17/us/politics/obama-commutes-bulk-of-chelsea-mannings-sentence.html?_r=0\" target=\"_blank\" rel=\"noopener\">Chelsea Manning\u003c/a>’s decision to disclose \u003ca href=\"http://www.newsweek.com/chelsea-manning-real-legacy-increased-surveillance-548666\" target=\"_blank\" rel=\"noopener\">hundreds of thousands of classified and sensitive documents to WikiLeaks\u003c/a>, her courtmartial, and her sex reassignment surgery. Composer Ted Hearne, who teaches composition at U.S.C., and librettist Mark Doten have created a kind of pop collage out of vocal, instrumental, and recorded sounds sung by a group of vocalists using a lot of autotune. The story is all the more compelling after former President Barack Obama’s pardoning of Manning. \u003ca href=\"https://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">Details for the show at the San Francisco Opera Lab are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xa78BMHajPM\u003c/p>\n\u003cp>\u003cstrong>Feb. 28: \u003c/strong>The \u003ca href=\"https://www.youtube.com/watch?v=OHpzQr-2xeo\" target=\"_blank\" rel=\"noopener\">Bell X-1\u003c/a> was the first plane to break the sound barrier, and the name also inspired a group of young rockers from Ireland. Bell X1 make lovely danceable pop and gorgeous ballads. They write smart lyrics, mixing the personal with the political on song like “Sons and Daughters,” asking future generations for forgiveness for the mistakes of the present — and on “The End is Nigh,” they ask “Will the wrong guy get the codes,” which seems an apt question for Europeans worried about our election of President Donald Trump. San Francisco is the last stop on a short U.S. Tour for the Bell X1, before they return to their home base in Dublin, Ireland. Details for their show at \u003ca href=\"http://www.thechapelsf.com/event/1385118-bell-x1-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Chapel in San Francisco are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sZTXN084yTw\u003c/p>\n\u003cp>\u003cstrong>Feb. 28–March 2:\u003c/strong> We squeezed in a pair of shoutouts as well. David picked former Bay Area resident \u003ca href=\"http://www.billhayes.com/\" target=\"_blank\" rel=\"noopener\">Bill Hayes\u003c/a>, who returns to read from his new memoir \u003ca href=\"http://www.bloomsbury.com/us/insomniac-city-9781620404959/\" target=\"_blank\" rel=\"noopener\">\u003cem>Insomniac City\u003c/em>\u003c/a>, focusing on his love affair with both New York City and the late author and psychiatrist Oliver Sacks. Hayes reads at Mrs. Dalloway’s in Berkeley on Feb. 28, at Rakestraw Books in Danville on March 1, and Book Passage in San Francisco on March 2. Details for all appearances \u003ca href=\"http://www.billhayes.com/events/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 25–26\u003c/strong>: And I champion the \u003ca href=\"http://villalobosbrothers.com/\" target=\"_blank\" rel=\"noopener\">Villalobos Brothers\u003c/a>, a marvelous band of violinists playing jazz and Mexican roots music. They’re part of \u003ca href=\"https://sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest on \u003c/a>Feb. 25, and at \u003ca href=\"http://www.thefreight.org/\" target=\"_blank\" rel=\"noopener\">Freight & Salvage \u003c/a>on Feb. 26. \u003ca href=\"http://villalobosbrothers.com/tour/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Do List features an opera on Chelsea Manning, Otis Taylor's trance blues, the band Bell X1 and more.",
"status": "publish",
"parent": 0,
"modified": 1726785729,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 1077
},
"headData": {
"title": "Cy and David's Picks: Musical Notes from Native California, Trance Blues, and Bell X1's High-Flying Pop | KQED",
"description": "The Do List features an opera on Chelsea Manning, Otis Taylor's trance blues, the band Bell X1 and more.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: Musical Notes from Native California, Trance Blues, and Bell X1's High-Flying Pop",
"datePublished": "2017-02-23T17:15:41-08:00",
"dateModified": "2024-09-19T15:42:09-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12808921/do-list-musical-notes-from-native-california-trance-blues-and-bell-x1s-high-flying-pop",
"audioUrl": "https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/02/TDL20170224.mp3",
"audioDuration": null,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/02/TDL20170224.mp3\u003c/p>\n\u003cp>The list is long this week for amazing stuff we couldn’t fit in the show. Yiddish songbird \u003ca href=\"http://www.heatherklein.net/\" target=\"_blank\" rel=\"noopener\">Heather Klein\u003c/a> premieres \u003ca href=\"https://ww2.kqed.org/arts/2017/02/21/with-shanghai-angel-heather-klein-tells-a-timely-refugee-tale/\" target=\"_blank\" rel=\"noopener\">her new one–woman musical, \u003cem>Shanghai Angel\u003c/em>\u003c/a>, about her grandmother’s emigration from Austria to Shanghai to America through Angel Island. It’s Feb. 26\u003ca href=\"https://www.thecjm.org/programs/55\" target=\"_blank\" rel=\"noopener\"> at the Contemporary Jewish Museum.\u003c/a> \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.naatak.com/\" target=\"_blank\" rel=\"noopener\">Naatak \u003c/a>opens the very timely play \u003cem>Airport Insecurity, \u003c/em>a Trump-esque tale of an Indian techie stuck at an airport in immigration limbo. It’s \u003ca href=\"http://www.naatak.com/\" target=\"_blank\" rel=\"noopener\">at the Cubberley Community Center in Palo Alto\u003c/a>, running Feb. 24-March 4. And for the ultimate in cool and classical, \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates \u003c/a>DJs and directs one of his\u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.mercurysoul.org/\" target=\"_blank\" rel=\"noopener\"> Mercury Soul \u003c/a>shows on Feb. 24, called \u003cem>Baroque & Beats\u003c/em> at the \u003ca href=\"https://www.dnalounge.com/calendar/2017/02-24.html\" target=\"_blank\" rel=\"noopener\">DNA Lounge\u003c/a>. Now for the show.\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/0TJPYb1KxXc'\n title='//www.youtube.com/embed/0TJPYb1KxXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 24–25\u003c/strong>: \u003ca href=\"https://www.otistaylor.com/index.html\" target=\"_blank\" rel=\"noopener\">Otis Taylor\u003c/a>’s new album, \u003cem>Fantasizing about Being Black,\u003c/em> is about the history of the African American experience, from the slave ships to the Mississippi Delta, and the blues music that was born of those influences. Taylor has always recognized that the blues are a form of protest music, and there’s plenty of comment here on the racism that endures in America today. He’s got a great band, too, with Anne Harris on violin. Details for his two shows at Biscuits and Blues are \u003ca href=\"http://biscuitsandblues.com/otistaylorband\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12808918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-800x472.jpg\" alt=\"Monet's 'Pointe de la Heve.' part of the exhibition at the Legion of Honor in San Francisco\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-1020x601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve-520x307.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Monet_Pointe-de-la-Heve.jpg 1523w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monet’s ‘Pointe de la Heve.’ part of the exhibition at the Legion of Honor in San Francisco. \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 28–May 29:\u003c/strong> The French painter \u003ca href=\"http://www.sfgate.com/local/article/Monet-comes-to-San-Francisco-s-Legion-of-Honor-10921548.php\" target=\"_blank\" rel=\"noopener\">Claude Monet \u003c/a>is most famous for his huge water lily paintings, done late in life. But we get a new perspective on the French artist in a show coming to the Legion of Honor called \u003cem>Monet: the Early Years,\u003c/em> with 60 paintings demonstrating a period in the mid-19th century when the artist was part of a generation re-inventing painting. “I didn’t become an impressionist,” the catalog quotes Monet. “As long as I can remember I always have been one.” He was always, as well, a master of color and a lover of landscapes. What a treat to see this first major U.S. exhibition devoted to Monet’s early works. Details for the show are \u003ca href=\"https://legionofhonor.famsf.org/monet-early-yearsand\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12808523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/002-800x600.jpg\" alt=\"Kanyon Sayers Rood sings with the Oakland Symphony in its program 'Notes from Native California'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/002.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kanyon Sayers Rood sings with the Oakland Symphony in its program ‘Notes from Native California.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 24\u003c/strong>: The Oakland Symphony is presenting its annual concert celebrating world music traditions, and this year Conductor Michael Morgan sticks close to home with a program called \u003cem>Notes from Native California\u003c/em>. Among the pieces is \u003cem>Big Sur: The Night Sun\u003c/em>, by John Wineglass, featuring the voice of Ohlone/Chumash singer \u003ca href=\"http://nativenewsonline.net/currents/ohlonechumash-artist-kanyon-sayers-roods-exhibits-gathering-tribes/\" target=\"_blank\" rel=\"noopener\">Kanyon Sayers-Roods\u003c/a>, whose amazing soprano voice I first heard a few weeks ago at the \u003ca href=\"https://www.ifhurbanrez.org/\" target=\"_blank\" rel=\"noopener\">Intertribal Friendship House \u003c/a>in Oakland. Sayers-Roods told me she makes up her own songs, and quotes her mom on how they’re not traditional, but still authentic. “My mother goes, ‘That is spirit. Those are our ancestors speaking through you. That is your culture being awakened. That is truth,'” Sayers-Roods said. “Because my mother and my grandmother have always shared a quote, ‘When song, ceremony and dance stop, so does the earth,’ and I too believe that.” She’s just one of the highlights for a concert that also features Shostakovitch’s Ninth Symphony. \u003ca href=\"https://www.oaklandsymphony.org/event-category/tickets-\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "vimeoLink",
"attributes": {
"named": {
"vimeoId": "115441535"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Feb. 24–March 3\u003c/strong>: There’s a category called CNN Opera, describing a musical about a modern political event or movement. Think \u003cem>\u003ca href=\"https://www.earbox.com/the-death-of-klinghoffer/\" target=\"_blank\" rel=\"noopener\">The Death of Klinghoffer\u003c/a>\u003c/em> by John Adams and Alice Goodman, or \u003ca href=\"https://en.wikipedia.org/wiki/X,_The_Life_and_Times_of_Malcolm_X\" target=\"_blank\" rel=\"noopener\">\u003cem>The Life and Times of Malcolm X\u003c/em>\u003c/a> by Anthony Davis. Now added to that list is \u003cem>The Source\u003c/em>, from 2016, about soldier \u003ca href=\"https://www.nytimes.com/2017/01/17/us/politics/obama-commutes-bulk-of-chelsea-mannings-sentence.html?_r=0\" target=\"_blank\" rel=\"noopener\">Chelsea Manning\u003c/a>’s decision to disclose \u003ca href=\"http://www.newsweek.com/chelsea-manning-real-legacy-increased-surveillance-548666\" target=\"_blank\" rel=\"noopener\">hundreds of thousands of classified and sensitive documents to WikiLeaks\u003c/a>, her courtmartial, and her sex reassignment surgery. Composer Ted Hearne, who teaches composition at U.S.C., and librettist Mark Doten have created a kind of pop collage out of vocal, instrumental, and recorded sounds sung by a group of vocalists using a lot of autotune. The story is all the more compelling after former President Barack Obama’s pardoning of Manning. \u003ca href=\"https://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">Details for the show at the San Francisco Opera Lab are here\u003c/a>.\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/xa78BMHajPM'\n title='//www.youtube.com/embed/xa78BMHajPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 28: \u003c/strong>The \u003ca href=\"https://www.youtube.com/watch?v=OHpzQr-2xeo\" target=\"_blank\" rel=\"noopener\">Bell X-1\u003c/a> was the first plane to break the sound barrier, and the name also inspired a group of young rockers from Ireland. Bell X1 make lovely danceable pop and gorgeous ballads. They write smart lyrics, mixing the personal with the political on song like “Sons and Daughters,” asking future generations for forgiveness for the mistakes of the present — and on “The End is Nigh,” they ask “Will the wrong guy get the codes,” which seems an apt question for Europeans worried about our election of President Donald Trump. San Francisco is the last stop on a short U.S. Tour for the Bell X1, before they return to their home base in Dublin, Ireland. Details for their show at \u003ca href=\"http://www.thechapelsf.com/event/1385118-bell-x1-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Chapel in San Francisco are here\u003c/a>.\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/sZTXN084yTw'\n title='//www.youtube.com/embed/sZTXN084yTw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 28–March 2:\u003c/strong> We squeezed in a pair of shoutouts as well. David picked former Bay Area resident \u003ca href=\"http://www.billhayes.com/\" target=\"_blank\" rel=\"noopener\">Bill Hayes\u003c/a>, who returns to read from his new memoir \u003ca href=\"http://www.bloomsbury.com/us/insomniac-city-9781620404959/\" target=\"_blank\" rel=\"noopener\">\u003cem>Insomniac City\u003c/em>\u003c/a>, focusing on his love affair with both New York City and the late author and psychiatrist Oliver Sacks. Hayes reads at Mrs. Dalloway’s in Berkeley on Feb. 28, at Rakestraw Books in Danville on March 1, and Book Passage in San Francisco on March 2. Details for all appearances \u003ca href=\"http://www.billhayes.com/events/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 25–26\u003c/strong>: And I champion the \u003ca href=\"http://villalobosbrothers.com/\" target=\"_blank\" rel=\"noopener\">Villalobos Brothers\u003c/a>, a marvelous band of violinists playing jazz and Mexican roots music. They’re part of \u003ca href=\"https://sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest on \u003c/a>Feb. 25, and at \u003ca href=\"http://www.thefreight.org/\" target=\"_blank\" rel=\"noopener\">Freight & Salvage \u003c/a>on Feb. 26. \u003ca href=\"http://villalobosbrothers.com/tour/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12808921/do-list-musical-notes-from-native-california-trance-blues-and-bell-x1s-high-flying-pop",
"authors": [
"32"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_75",
"arts_967",
"arts_70"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596",
"arts_626"
],
"featImg": "arts_12808915",
"label": "arts"
},
"arts_12808126": {
"type": "posts",
"id": "arts_12808126",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12808126",
"score": null,
"sort": [
1487881777000
]
},
"guestAuthors": [],
"slug": "beyonce-pulls-out-of-coachella-will-perform-in-2018",
"title": "Beyonce Pulls Out of Coachella; Will Perform in 2018",
"publishDate": 1487881777,
"format": "standard",
"headTitle": "Beyonce Pulls Out of Coachella; Will Perform in 2018 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Beyonce, who is pregnant with twins, will not perform at Coachella this year, but will headline the festival in 2018.\u003c/p>\n\u003cp>In a statement to The Associated Press on Thursday, Beyonce’s Parkwood Entertainment and festival producer Goldenvoice said the pop star had to pull out of the famed festival under doctor’s orders.\u003c/p>\n\u003cp>“Following the advice of her doctors to keep a less rigorous schedule in the coming months, Beyonce has made the decision to forgo performing at the 2017 Coachella Valley Music & Arts Festival,” the statement said. “However, Goldenvoice and Parkwood are pleased to confirm that she will be a headliner at the 2018 festival. Thank you for your understanding.”\u003c/p>\n\u003cp>It was not clear who will perform in her absence. Radiohead and Kendrick Lamar will also headline the two-weekend festival in Indio, California. Radiohead will perform on April 14 and 21, and Lamar on April 16 and 23.\u003c/p>\n\u003cp>Beyonce was originally set to perform April 15 and 22. It would have marked her first time she performed at the festival, and she would have been the first female act to headline Coachella since Bjork in 2007.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Beyonce, who last appeared at Coachella in 2014 when she danced onstage during her sister Solange’s set, announced last month that she and Jay Z are expecting twins. It is not clear when Beyonce is due to give birth. Earlier this month, the pregnant singer performed at the Grammy Awards, where she won two honors for her genre-bending album, “Lemonade.”\u003c/p>\n\u003cp>Jay Z, 47, and Beyonce, 35, are the parents of Blue Ivy, who was born in 2012.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other performers at this year’s Coachella include Lorde, the xx, Bon Iver, Future, Gucci Mane, Justice, DJ Snake, DJ Khaled and Father John Misty.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Beyonce, who is pregnant with twins, will not perform at Coachella this year, but will headline in 2018",
"status": "publish",
"parent": 0,
"modified": 1726707844,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 305
},
"headData": {
"title": "Beyonce Pulls Out of Coachella; Will Perform in 2018 | KQED",
"description": "Beyonce, who is pregnant with twins, will not perform at Coachella this year, but will headline in 2018",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Beyonce Pulls Out of Coachella; Will Perform in 2018",
"datePublished": "2017-02-23T12:29:37-08:00",
"dateModified": "2024-09-18T18:04:04-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Mesfin Fekadu",
"path": "/arts/12808126/beyonce-pulls-out-of-coachella-will-perform-in-2018",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyonce, who is pregnant with twins, will not perform at Coachella this year, but will headline the festival in 2018.\u003c/p>\n\u003cp>In a statement to The Associated Press on Thursday, Beyonce’s Parkwood Entertainment and festival producer Goldenvoice said the pop star had to pull out of the famed festival under doctor’s orders.\u003c/p>\n\u003cp>“Following the advice of her doctors to keep a less rigorous schedule in the coming months, Beyonce has made the decision to forgo performing at the 2017 Coachella Valley Music & Arts Festival,” the statement said. “However, Goldenvoice and Parkwood are pleased to confirm that she will be a headliner at the 2018 festival. Thank you for your understanding.”\u003c/p>\n\u003cp>It was not clear who will perform in her absence. Radiohead and Kendrick Lamar will also headline the two-weekend festival in Indio, California. Radiohead will perform on April 14 and 21, and Lamar on April 16 and 23.\u003c/p>\n\u003cp>Beyonce was originally set to perform April 15 and 22. It would have marked her first time she performed at the festival, and she would have been the first female act to headline Coachella since Bjork in 2007.\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>Beyonce, who last appeared at Coachella in 2014 when she danced onstage during her sister Solange’s set, announced last month that she and Jay Z are expecting twins. It is not clear when Beyonce is due to give birth. Earlier this month, the pregnant singer performed at the Grammy Awards, where she won two honors for her genre-bending album, “Lemonade.”\u003c/p>\n\u003cp>Jay Z, 47, and Beyonce, 35, are the parents of Blue Ivy, who was born in 2012.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Other performers at this year’s Coachella include Lorde, the xx, Bon Iver, Future, Gucci Mane, Justice, DJ Snake, DJ Khaled and Father John Misty.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12808126/beyonce-pulls-out-of-coachella-will-perform-in-2018",
"authors": [
"byline_arts_12808126"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596",
"arts_1427"
],
"featImg": "arts_12713407",
"label": "arts"
},
"arts_12804599": {
"type": "posts",
"id": "arts_12804599",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12804599",
"score": null,
"sort": [
1487876631000
]
},
"guestAuthors": [],
"slug": "new-grant-program-aims-to-protect-san-francisco-nonprofits",
"title": "New Grant Program Aims to Protect San Francisco Nonprofits",
"publishDate": 1487876631,
"format": "standard",
"headTitle": "New Grant Program Aims to Protect San Francisco Nonprofits | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>San Francisco is launching a new grant program to help nonprofits with limited funds defy the city’s booming real estate market. The grants are part of what Mayor Ed Lee is calling his \u003ca href=\"https://www.ncclf.org/sfsustainability/\" target=\"_blank\" rel=\"noopener\">“Nonprofit Sustainability Initiative”\u003c/a>, which includes a total investment of $6 million over two years.\u003c/p>\n\u003cp>“We’re shifting the balance toward purchasing permanent space,” said Lex Leifheit with the city’s \u003ca href=\"http://oewd.org/\" target=\"_blank\" rel=\"noopener\">Office of Economic and Workforce Development,\u003c/a> which will be administering the program. “And nonprofits interested in sharing space have support in this new program.”\u003c/p>\n\u003cp>Leifheit said she spoke to more than 100 nonprofits in developing the new funding program. She says that most of them, whether they’re arts organizations or child care providers, operate on razor-thin budgets. Even if the grants won’t go far in pricey San Francisco, she says, they’ll allow nonprofits to leverage bigger donations from other donors.\u003c/p>\n\u003cfigure id=\"attachment_12808115\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808115\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-800x486.jpg\" alt=\"Lex Leifheit of the San Francisco Office of Economic and Workforce Development\" width=\"800\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-800x486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-1020x620.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-1920x1166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-1180x717.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-960x583.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-375x228.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-520x316.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lex Leifheit of the San Francisco Office of Economic and Workforce Development \u003ccite>(Photo: Courtesy of Lex Leifheit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city is seeking \u003ca href=\"https://www.ncclf.org/sfsustainability/\" target=\"_blank\" rel=\"noopener\">grant applications\u003c/a> for $4.25 million over two years for organizations looking for seed funding to buy new, permanent space. There’s also almost $1.5 million in funds to cover such one-time costs as architectural, engineering, and legal services, rent stipends, and moving and tenant improvements.\u003c/p>\n\u003cp>As in past rounds of funding, the \u003ca href=\"https://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund (NCCLF)\u003c/a>, among the region’s most innovative lenders and real estate consultants, will work with nonprofits interested in learning how to share space with other nonprofits. “NCCLF helps nonprofits get ready to enter the real estate market,” Leifheit says. “So that when an opportunity comes up they can act fast and be competitive.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "San Francisco launches a new funding program to help threatened nonprofits stay in the city. ",
"status": "publish",
"parent": 0,
"modified": 1726785733,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 7,
"wordCount": 307
},
"headData": {
"title": "New Grant Program Aims to Protect San Francisco Nonprofits | KQED",
"description": "San Francisco launches a new funding program to help threatened nonprofits stay in the city. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Grant Program Aims to Protect San Francisco Nonprofits",
"datePublished": "2017-02-23T11:03:51-08:00",
"dateModified": "2024-09-19T15:42:13-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12804599/new-grant-program-aims-to-protect-san-francisco-nonprofits",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco is launching a new grant program to help nonprofits with limited funds defy the city’s booming real estate market. The grants are part of what Mayor Ed Lee is calling his \u003ca href=\"https://www.ncclf.org/sfsustainability/\" target=\"_blank\" rel=\"noopener\">“Nonprofit Sustainability Initiative”\u003c/a>, which includes a total investment of $6 million over two years.\u003c/p>\n\u003cp>“We’re shifting the balance toward purchasing permanent space,” said Lex Leifheit with the city’s \u003ca href=\"http://oewd.org/\" target=\"_blank\" rel=\"noopener\">Office of Economic and Workforce Development,\u003c/a> which will be administering the program. “And nonprofits interested in sharing space have support in this new program.”\u003c/p>\n\u003cp>Leifheit said she spoke to more than 100 nonprofits in developing the new funding program. She says that most of them, whether they’re arts organizations or child care providers, operate on razor-thin budgets. Even if the grants won’t go far in pricey San Francisco, she says, they’ll allow nonprofits to leverage bigger donations from other donors.\u003c/p>\n\u003cfigure id=\"attachment_12808115\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12808115\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-800x486.jpg\" alt=\"Lex Leifheit of the San Francisco Office of Economic and Workforce Development\" width=\"800\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-800x486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-1020x620.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-1920x1166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-1180x717.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-960x583.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-375x228.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821-520x316.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/LexLeifheitHeadshotOEWD-e1487878448821.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lex Leifheit of the San Francisco Office of Economic and Workforce Development \u003ccite>(Photo: Courtesy of Lex Leifheit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The city is seeking \u003ca href=\"https://www.ncclf.org/sfsustainability/\" target=\"_blank\" rel=\"noopener\">grant applications\u003c/a> for $4.25 million over two years for organizations looking for seed funding to buy new, permanent space. There’s also almost $1.5 million in funds to cover such one-time costs as architectural, engineering, and legal services, rent stipends, and moving and tenant improvements.\u003c/p>\n\u003cp>As in past rounds of funding, the \u003ca href=\"https://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund (NCCLF)\u003c/a>, among the region’s most innovative lenders and real estate consultants, will work with nonprofits interested in learning how to share space with other nonprofits. “NCCLF helps nonprofits get ready to enter the real estate market,” Leifheit says. “So that when an opportunity comes up they can act fast and be competitive.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12804599/new-grant-program-aims-to-protect-san-francisco-nonprofits",
"authors": [
"32"
],
"categories": [
"arts_235"
],
"tags": [
"arts_1448",
"arts_1254",
"arts_596"
],
"featImg": "arts_12807915",
"label": "arts"
},
"arts_12803803": {
"type": "posts",
"id": "arts_12803803",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12803803",
"score": null,
"sort": [
1487803791000
]
},
"guestAuthors": [],
"slug": "grace-slick-takes-chick-fil-a-money-and-donates-it-to-lgbtq-organization",
"title": "Grace Slick Takes Chick-fil-A Money and Donates it to LGBTQ Organization",
"publishDate": 1487803791,
"format": "standard",
"headTitle": "Grace Slick Takes Chick-fil-A Money and Donates it to LGBTQ Organization | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Grace Slick doesn’t like Chick-fil-A, but she’ll happily take their money and do what she wants with it.\u003c/p>\n\u003cp>In an essay \u003ca href=\"http://www.forbes.com/sites/bizblog/2017/02/21/why-i-decided-to-license-starships-music-to-chick-fil-a\" target=\"_blank\" rel=\"noopener\">published at Forbes.com\u003c/a>, the 77-year-old former singer of Jefferson Airplane and Jefferson Starship said that Chick-fil-A licensed one of her songs, “Nothing’s Going to Stop Us Now,” for a commercial. Initially she planned to refuse the offer over the company’s \u003ca href=\"http://www.nytimes.com/2012/07/26/us/gay-rights-uproar-over-chick-fil-a-widens.html\" target=\"_blank\" rel=\"noopener\">well-publicized views on gay rights\u003c/a>, but she said she agreed so she could donate the money to a group that supports LGBTQ communities.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3wxyN3z9PL4\u003c/p>\n\u003cp>“I am donating every dime that I make from that ad to Lambda Legal, the largest national legal organization working to advance the civil rights of LGBTQ people, and everyone living with HIV,” Slick wrote for Forbes.com. “Admittedly it’s not the millions that WinShape has given to organizations that define marriage as heterosexual. But instead of them replacing my song with someone else’s and losing this opportunity to strike back at anti-LGBTQ forces, I decided to spend the cash in direct opposition to “Check”-fil-A’s causes – and to make a public example of them, too.”\u003c/p>\n\u003cp>(The \u003ca href=\"http://foundation.winshape.org/about/\" target=\"_blank\" rel=\"noopener\">WinShape Foundation\u003c/a> is the non-profit organization started by the founders of Chick-fil-A.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Slick insists in her piece that she’s not making excuses for “selling out,” but rather setting an example of other artists.\u003c/p>\n\u003cp>“See, I come from a time when artists didn’t just sell their soul to the highest bidder, when musicians took a stand, when the message of songs was ‘feed your head,’ not ‘feed your wallet.’ We need that kind of artistic integrity today, more than ever,” Slick wrote.\u003c/p>\n\u003cp>Many of Slick’s songs have been used commercials and movies. Back in 1967, Jefferson Airplane composed radio jingles for Levi Jeans (video below). The Starship song “Nothing’s Going to Stop Us Now” was used in the 1987 Kim Cattrall, Andrew McCarthy film \u003ci>Mannequin.\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gw0C5Sga6So\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>BONUS:\u003c/b> Watch Slick speak to KQED’s \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/215068\" target=\"_blank\" rel=\"noopener\">Evening Edition back in 1977\u003c/a>. \u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Jefferson Airplane singer turned visual artist is giving Chick-fil-A a figurative middle finger ",
"status": "publish",
"parent": 0,
"modified": 1726707854,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 388
},
"headData": {
"title": "Grace Slick Takes Chick-fil-A Money and Donates it to LGBTQ Organization | KQED",
"description": "The Jefferson Airplane singer turned visual artist is giving Chick-fil-A a figurative middle finger ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Grace Slick Takes Chick-fil-A Money and Donates it to LGBTQ Organization",
"datePublished": "2017-02-22T14:49:51-08:00",
"dateModified": "2024-09-18T18:04:14-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12803803/grace-slick-takes-chick-fil-a-money-and-donates-it-to-lgbtq-organization",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grace Slick doesn’t like Chick-fil-A, but she’ll happily take their money and do what she wants with it.\u003c/p>\n\u003cp>In an essay \u003ca href=\"http://www.forbes.com/sites/bizblog/2017/02/21/why-i-decided-to-license-starships-music-to-chick-fil-a\" target=\"_blank\" rel=\"noopener\">published at Forbes.com\u003c/a>, the 77-year-old former singer of Jefferson Airplane and Jefferson Starship said that Chick-fil-A licensed one of her songs, “Nothing’s Going to Stop Us Now,” for a commercial. Initially she planned to refuse the offer over the company’s \u003ca href=\"http://www.nytimes.com/2012/07/26/us/gay-rights-uproar-over-chick-fil-a-widens.html\" target=\"_blank\" rel=\"noopener\">well-publicized views on gay rights\u003c/a>, but she said she agreed so she could donate the money to a group that supports LGBTQ communities.\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/3wxyN3z9PL4'\n title='//www.youtube.com/embed/3wxyN3z9PL4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I am donating every dime that I make from that ad to Lambda Legal, the largest national legal organization working to advance the civil rights of LGBTQ people, and everyone living with HIV,” Slick wrote for Forbes.com. “Admittedly it’s not the millions that WinShape has given to organizations that define marriage as heterosexual. But instead of them replacing my song with someone else’s and losing this opportunity to strike back at anti-LGBTQ forces, I decided to spend the cash in direct opposition to “Check”-fil-A’s causes – and to make a public example of them, too.”\u003c/p>\n\u003cp>(The \u003ca href=\"http://foundation.winshape.org/about/\" target=\"_blank\" rel=\"noopener\">WinShape Foundation\u003c/a> is the non-profit organization started by the founders of Chick-fil-A.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Slick insists in her piece that she’s not making excuses for “selling out,” but rather setting an example of other artists.\u003c/p>\n\u003cp>“See, I come from a time when artists didn’t just sell their soul to the highest bidder, when musicians took a stand, when the message of songs was ‘feed your head,’ not ‘feed your wallet.’ We need that kind of artistic integrity today, more than ever,” Slick wrote.\u003c/p>\n\u003cp>Many of Slick’s songs have been used commercials and movies. Back in 1967, Jefferson Airplane composed radio jingles for Levi Jeans (video below). The Starship song “Nothing’s Going to Stop Us Now” was used in the 1987 Kim Cattrall, Andrew McCarthy film \u003ci>Mannequin.\u003c/i>\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/gw0C5Sga6So'\n title='//www.youtube.com/embed/gw0C5Sga6So'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>BONUS:\u003c/b> Watch Slick speak to KQED’s \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/215068\" target=\"_blank\" rel=\"noopener\">Evening Edition back in 1977\u003c/a>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12803803/grace-slick-takes-chick-fil-a-money-and-donates-it-to-lgbtq-organization",
"authors": [
"93"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_596"
],
"featImg": "arts_12803818",
"label": "arts"
},
"arts_12799235": {
"type": "posts",
"id": "arts_12799235",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12799235",
"score": null,
"sort": [
1487723920000
]
},
"guestAuthors": [],
"slug": "new-mural-in-oakland-honors-victims-of-deadly-warehouse-fire",
"title": "New Mural in Oakland Honors Victims of Deadly Warehouse Fire",
"publishDate": 1487723920,
"format": "standard",
"headTitle": "New Mural in Oakland Honors Victims of Deadly Warehouse Fire | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>A Bay Area street artist has completed a large mural in Oakland paying tribute to the victims of the deadly warehouse fire that \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">killed 36 people\u003c/a> in December.\u003c/p>\n\u003cp>On Sunday, \u003ca href=\"http://voguesworld.com/\" target=\"_blank\" rel=\"noopener\">Norman “Vogue” Chuck\u003c/a>, a graffiti artist living in San Leandro, finished the massive mural on East 12th Street between 22nd and 23rd avenues in Oakland. The piece features a large sailing ship (also known as a galleon) sailing into the sunset, surrounded by doves. The ship is in reference to the name of the venue where the deadly fire occurred, a warehouse space called the \u003ca href=\"https://ww2.kqed.org/arts/tag/ghost-ship/\" target=\"_blank\" rel=\"noopener\">Ghost Ship\u003c/a>. Beside it is a scroll of all 36 names of those who died in the fire.\u003c/p>\n\u003cp>“Honored to paint & dedicate this memorial mural from the tragic Oakland Ghostship fire. For the 36 individuals lost, the survivors, there [sic] family & friends,” Chuck wrote on his \u003ca href=\"https://www.facebook.com/normanvogue/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>. \u003c/p>\n\u003cp>Fuming Gorilla Productions put the project together and Jetty Extracts, an Oakland company that manufactures medical cannabis extracts, helped cover the cost of the mural. \u003c/p>\n\u003cp>Last week, a fellow muralist \u003ca href=\"https://twitter.com/MLNow/status/831673219581100032\" target=\"_blank\" rel=\"noopener\">painted another Ghost Ship memorial mural\u003c/a> in San Francisco’s Clarion Alley for Michela Gregory and Alex Vega, a young couple who died in the fire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "The massive mural on East 12th Street features the names of all 36 victims of the deadly Ghost Ship fire. ",
"status": "publish",
"parent": 0,
"modified": 1726707860,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 7,
"wordCount": 208
},
"headData": {
"title": "New Mural in Oakland Honors Victims of Deadly Warehouse Fire | KQED",
"description": "The massive mural on East 12th Street features the names of all 36 victims of the deadly Ghost Ship fire. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Mural in Oakland Honors Victims of Deadly Warehouse Fire",
"datePublished": "2017-02-21T16:38:40-08:00",
"dateModified": "2024-09-18T18:04:20-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12799235/new-mural-in-oakland-honors-victims-of-deadly-warehouse-fire",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Bay Area street artist has completed a large mural in Oakland paying tribute to the victims of the deadly warehouse fire that \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" target=\"_blank\" rel=\"noopener\">killed 36 people\u003c/a> in December.\u003c/p>\n\u003cp>On Sunday, \u003ca href=\"http://voguesworld.com/\" target=\"_blank\" rel=\"noopener\">Norman “Vogue” Chuck\u003c/a>, a graffiti artist living in San Leandro, finished the massive mural on East 12th Street between 22nd and 23rd avenues in Oakland. The piece features a large sailing ship (also known as a galleon) sailing into the sunset, surrounded by doves. The ship is in reference to the name of the venue where the deadly fire occurred, a warehouse space called the \u003ca href=\"https://ww2.kqed.org/arts/tag/ghost-ship/\" target=\"_blank\" rel=\"noopener\">Ghost Ship\u003c/a>. Beside it is a scroll of all 36 names of those who died in the fire.\u003c/p>\n\u003cp>“Honored to paint & dedicate this memorial mural from the tragic Oakland Ghostship fire. For the 36 individuals lost, the survivors, there [sic] family & friends,” Chuck wrote on his \u003ca href=\"https://www.facebook.com/normanvogue/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>. \u003c/p>\n\u003cp>Fuming Gorilla Productions put the project together and Jetty Extracts, an Oakland company that manufactures medical cannabis extracts, helped cover the cost of the mural. \u003c/p>\n\u003cp>Last week, a fellow muralist \u003ca href=\"https://twitter.com/MLNow/status/831673219581100032\" target=\"_blank\" rel=\"noopener\">painted another Ghost Ship memorial mural\u003c/a> in San Francisco’s Clarion Alley for Michela Gregory and Alex Vega, a young couple who died in the fire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12799235/new-mural-in-oakland-honors-victims-of-deadly-warehouse-fire",
"authors": [
"93"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1448",
"arts_596"
],
"featImg": "arts_12799239",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=news": {
"isFetching": false,
"latestQuery": {
"from": 2448,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3759,
"relation": "eq"
},
"items": [
"arts_12822524",
"arts_12813612",
"arts_12813820",
"arts_12813821",
"arts_12812996",
"arts_12808122",
"arts_12808330",
"arts_12808921",
"arts_12808126",
"arts_12804599",
"arts_12803803",
"arts_12799235"
],
"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_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_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_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_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_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_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_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_1427": {
"type": "terms",
"id": "arts_1427",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1427",
"found": true
},
"relationships": {},
"featImg": null,
"name": "wire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "wire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1439,
"slug": "wire",
"isLoading": false,
"link": "/arts/tag/wire"
},
"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_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_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_1334": {
"type": "terms",
"id": "arts_1334",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1334",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the do list",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the do list Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1346,
"slug": "the-do-list",
"isLoading": false,
"link": "/arts/tag/the-do-list"
},
"arts_626": {
"type": "terms",
"id": "arts_626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 634,
"slug": "the-do-list-featured",
"isLoading": false,
"link": "/arts/tag/the-do-list-featured"
},
"arts_1642": {
"type": "terms",
"id": "arts_1642",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1642",
"found": true
},
"relationships": {},
"featImg": null,
"name": "#100daysart",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "#100daysart Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1654,
"slug": "100daysart",
"isLoading": false,
"link": "/arts/tag/100daysart"
},
"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_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_1545": {
"type": "terms",
"id": "arts_1545",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1545",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mission Local",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mission Local Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1557,
"slug": "mission-local",
"isLoading": false,
"link": "/arts/affiliate/mission-local"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_1448": {
"type": "terms",
"id": "arts_1448",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1448",
"found": true
},
"relationships": {},
"featImg": null,
"name": "art wire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "art wire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1460,
"slug": "art-wire",
"isLoading": false,
"link": "/arts/tag/art-wire"
},
"arts_1254": {
"type": "terms",
"id": "arts_1254",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1254",
"found": true
},
"relationships": {},
"featImg": null,
"name": "exclude",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "exclude Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1266,
"slug": "exclude",
"isLoading": false,
"link": "/arts/tag/exclude"
}
},
"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
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}