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_12042313": {
"type": "attachments",
"id": "arts_12042313",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12042313",
"found": true
},
"parent": 12041924,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/ARTS_SOUNDWAVE_EDIT-Copy-01.00_00_01_04.Still001-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/ARTS_SOUNDWAVE_EDIT-Copy-01.00_00_01_04.Still001-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/ARTS_SOUNDWAVE_EDIT-Copy-01.00_00_01_04.Still001-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/ARTS_SOUNDWAVE_EDIT-Copy-01.00_00_01_04.Still001-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/ARTS_SOUNDWAVE_EDIT-Copy-01.00_00_01_04.Still001.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/ARTS_SOUNDWAVE_EDIT-Copy-01.00_00_01_04.Still001-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/ARTS_SOUNDWAVE_EDIT-Copy-01.00_00_01_04.Still001-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/ARTS_SOUNDWAVE_EDIT-Copy-01.00_00_01_04.Still001-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/ARTS_SOUNDWAVE_EDIT-Copy-01.00_00_01_04.Still001-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/ARTS_SOUNDWAVE_EDIT-Copy-01.00_00_01_04.Still001-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/ARTS_SOUNDWAVE_EDIT-Copy-01.00_00_01_04.Still001-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/ARTS_SOUNDWAVE_EDIT-Copy-01.00_00_01_04.Still001-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/ARTS_SOUNDWAVE_EDIT-Copy-01.00_00_01_04.Still001-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/ARTS_SOUNDWAVE_EDIT-Copy-01.00_00_01_04.Still001-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/ARTS_SOUNDWAVE_EDIT-Copy-01.00_00_01_04.Still001-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/ARTS_SOUNDWAVE_EDIT-Copy-01.00_00_01_04.Still001-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473371955,
"modified": 1473371955,
"caption": null,
"description": null,
"title": "ARTS_SOUNDWAVE_EDIT Copy 01.00_00_01_04.Still001",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_11081143": {
"type": "attachments",
"id": "news_11081143",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11081143",
"found": true
},
"parent": 11081142,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/editor_custom-7891e9a8162912e46cf0aa86b1b7d906940af52b-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/editor_custom-7891e9a8162912e46cf0aa86b1b7d906940af52b-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/editor_custom-7891e9a8162912e46cf0aa86b1b7d906940af52b-960x539.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 539
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/editor_custom-7891e9a8162912e46cf0aa86b1b7d906940af52b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/editor_custom-7891e9a8162912e46cf0aa86b1b7d906940af52b-e1473464190895.jpg",
"width": 1920,
"height": 1078
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/editor_custom-7891e9a8162912e46cf0aa86b1b7d906940af52b-1920x1078.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1078
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/editor_custom-7891e9a8162912e46cf0aa86b1b7d906940af52b-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/editor_custom-7891e9a8162912e46cf0aa86b1b7d906940af52b-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/editor_custom-7891e9a8162912e46cf0aa86b1b7d906940af52b-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/editor_custom-7891e9a8162912e46cf0aa86b1b7d906940af52b-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/editor_custom-7891e9a8162912e46cf0aa86b1b7d906940af52b-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/editor_custom-7891e9a8162912e46cf0aa86b1b7d906940af52b-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/editor_custom-7891e9a8162912e46cf0aa86b1b7d906940af52b-1920x1078.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1078
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/editor_custom-7891e9a8162912e46cf0aa86b1b7d906940af52b-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/editor_custom-7891e9a8162912e46cf0aa86b1b7d906940af52b-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/09/editor_custom-7891e9a8162912e46cf0aa86b1b7d906940af52b-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473444623,
"modified": 1473464183,
"caption": "Espen Egil Hansen, the editor-in-chief of Norway's Aftenposten newspaper, addressed Facebook CEO Mark Zuckerberg in a front-page open letter on Friday.",
"description": "Espen Egil Hansen, the editor-in-chief of Norway's Aftenposten newspaper, addressed Facebook CEO Mark Zuckerberg in a front-page open letter on Friday.",
"title": "Espen Egil Hansen, the editor-in-chief of Norway's Aftenposten newspaper, addressed Facebook CEO Mark Zuckerberg in a front-page open letter on Friday",
"credit": "Aftenposten",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12038295": {
"type": "attachments",
"id": "arts_12038295",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12038295",
"found": true
},
"parent": 12037700,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Counterpoint-StudioCROPPED-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Counterpoint-StudioCROPPED-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Counterpoint-StudioCROPPED-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Counterpoint-StudioCROPPED-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Counterpoint-StudioCROPPED.jpg",
"width": 1397,
"height": 786
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Counterpoint-StudioCROPPED-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Counterpoint-StudioCROPPED-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Counterpoint-StudioCROPPED-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Counterpoint-StudioCROPPED-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Counterpoint-StudioCROPPED-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Counterpoint-StudioCROPPED-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Counterpoint-StudioCROPPED-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Counterpoint-StudioCROPPED-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Counterpoint-StudioCROPPED-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Counterpoint-StudioCROPPED-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473297215,
"modified": 1473384031,
"caption": "An example of \"City Walks\" by Counterpoint Studio",
"description": "An example of \"City Walks\" by Counterpoint Studio",
"title": "Counterpoint StudioCROPPED",
"credit": "Photo: Courtesy of San Francisco Beautiful",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12041927": {
"type": "attachments",
"id": "arts_12041927",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12041927",
"found": true
},
"parent": 12041518,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/F2A7939-e1473364431564-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/F2A7939-e1473364431564-400x241.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 241
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/F2A7939-e1473364431564-960x578.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 578
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/F2A7939-e1473364431564-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/F2A7939-e1473364431564.jpg",
"width": 3708,
"height": 2231
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/F2A7939-e1473364431564-1180x710.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 710
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/F2A7939-e1473364431564-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/F2A7939-e1473364431564-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/F2A7939-e1473364431564-800x481.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 481
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/F2A7939-e1473364431564-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/F2A7939-e1473364431564-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/F2A7939-e1473364431564-1920x1155.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1155
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/F2A7939-e1473364431564-1180x710.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 710
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/F2A7939-e1473364431564-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/F2A7939-e1473364431564-768x462.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 462
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/F2A7939-e1473364431564-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473364210,
"modified": 1473364374,
"caption": "A scene from a rehearsal for 'Dream of the Red Chamber' at San Francisco Opera",
"description": "A scene from a rehearsal for 'Dream of the Red Chamber' at San Francisco Opera",
"title": "A scene from a rehearsal for 'Dream of the Red Chamber' at San Francisco Opera",
"credit": "Photo: Cory Weaver/San Francisco Opera",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12041325": {
"type": "attachments",
"id": "arts_12041325",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12041325",
"found": true
},
"parent": 12036897,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tim-Yip_Bright-Sheng_Stan-Lai_2016_Photo-by-Scott-Wall-e1473352901808-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tim-Yip_Bright-Sheng_Stan-Lai_2016_Photo-by-Scott-Wall-e1473352901808-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tim-Yip_Bright-Sheng_Stan-Lai_2016_Photo-by-Scott-Wall-e1473352901808-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tim-Yip_Bright-Sheng_Stan-Lai_2016_Photo-by-Scott-Wall-e1473352901808-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tim-Yip_Bright-Sheng_Stan-Lai_2016_Photo-by-Scott-Wall-e1473355570646.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tim-Yip_Bright-Sheng_Stan-Lai_2016_Photo-by-Scott-Wall-e1473352901808-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tim-Yip_Bright-Sheng_Stan-Lai_2016_Photo-by-Scott-Wall-e1473352901808-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tim-Yip_Bright-Sheng_Stan-Lai_2016_Photo-by-Scott-Wall-e1473352901808-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tim-Yip_Bright-Sheng_Stan-Lai_2016_Photo-by-Scott-Wall-e1473352901808-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tim-Yip_Bright-Sheng_Stan-Lai_2016_Photo-by-Scott-Wall-e1473352901808-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tim-Yip_Bright-Sheng_Stan-Lai_2016_Photo-by-Scott-Wall-e1473352901808-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tim-Yip_Bright-Sheng_Stan-Lai_2016_Photo-by-Scott-Wall-e1473352901808-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tim-Yip_Bright-Sheng_Stan-Lai_2016_Photo-by-Scott-Wall-e1473352901808-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tim-Yip_Bright-Sheng_Stan-Lai_2016_Photo-by-Scott-Wall-e1473352901808-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tim-Yip_Bright-Sheng_Stan-Lai_2016_Photo-by-Scott-Wall-e1473352901808-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Tim-Yip_Bright-Sheng_Stan-Lai_2016_Photo-by-Scott-Wall-e1473352901808-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473352748,
"modified": 1473352853,
"caption": "Tim Yip, Bright Sheng and Stan Lai: Three of the key creatives behind SF Opera's new world premiere 'Dream of the Red Chamber'",
"description": "Tim Yip, Bright Sheng and Stan Lai: Three of the key creatives behind SF Opera's new world premiere 'Dream of the Red Chamber'",
"title": "Tim Yip_Bright Sheng_Stan Lai_2016_Photo by Scott Wall",
"credit": "Photo: Scott Wall",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"forum_2010101856578": {
"type": "attachments",
"id": "forum_2010101856578",
"meta": {
"index": "attachments_1716263798",
"site": "forum",
"id": "2010101856578",
"found": true
},
"parent": 2010101856577,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/43/2016/09/JoanBaez_PR1-for-web-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/43/2016/09/JoanBaez_PR1-for-web-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/43/2016/09/JoanBaez_PR1-for-web-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/43/2016/09/JoanBaez_PR1-for-web-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/43/2016/09/JoanBaez_PR1-for-web.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/43/2016/09/JoanBaez_PR1-for-web-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/43/2016/09/JoanBaez_PR1-for-web-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/43/2016/09/JoanBaez_PR1-for-web-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/43/2016/09/JoanBaez_PR1-for-web-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/43/2016/09/JoanBaez_PR1-for-web-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/43/2016/09/JoanBaez_PR1-for-web-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/43/2016/09/JoanBaez_PR1-for-web-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/43/2016/09/JoanBaez_PR1-for-web-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/43/2016/09/JoanBaez_PR1-for-web-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/43/2016/09/JoanBaez_PR1-for-web-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/43/2016/09/JoanBaez_PR1-for-web-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473290471,
"modified": 1473290505,
"caption": null,
"description": null,
"title": "JoanBaez_PR1-for-web",
"credit": "Photo: Marina Chavez",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12038292": {
"type": "attachments",
"id": "arts_12038292",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12038292",
"found": true
},
"parent": 12038287,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Anna-Dewdney-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Anna-Dewdney-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Anna-Dewdney.jpg",
"width": 800,
"height": 450
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Anna-Dewdney-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Anna-Dewdney-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Anna-Dewdney-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Anna-Dewdney-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Anna-Dewdney-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Anna-Dewdney-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Anna-Dewdney-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Anna-Dewdney-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473296644,
"modified": 1473296678,
"caption": "Anna Dewdney and actress Bridget Moynahan attend the Jumpstart's Read For The Record event ",
"description": "Anna Dewdney and actress Bridget Moynahan attend the Jumpstart's Read For The Record event ",
"title": "Anna Dewdney",
"credit": "Photo: Jason Kempin/WireImage for Jumpstart for Young Children",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12027463": {
"type": "attachments",
"id": "arts_12027463",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12027463",
"found": true
},
"parent": 12027462,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Kathak-Afrobrazilian-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Kathak-Afrobrazilian-400x207.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 207
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Kathak-Afrobrazilian-960x496.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 496
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Kathak-Afrobrazilian-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Kathak-Afrobrazilian-e1473270153403.jpg",
"width": 1920,
"height": 992
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Kathak-Afrobrazilian-1180x610.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 610
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Kathak-Afrobrazilian-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Kathak-Afrobrazilian-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Kathak-Afrobrazilian-800x413.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 413
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Kathak-Afrobrazilian-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Kathak-Afrobrazilian-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Kathak-Afrobrazilian-1920x992.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 992
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Kathak-Afrobrazilian-1180x610.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 610
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Kathak-Afrobrazilian-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Kathak-Afrobrazilian-768x397.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 397
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Kathak-Afrobrazilian-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473093883,
"modified": 1473094460,
"caption": "Dancers specializing in India's kathak style (left) perform next to Afro-Brazilian dancers in \"Conference of the Birds\"",
"description": null,
"title": "Kathak Afrobrazilian",
"credit": "Prabhakar Subrahmanyam",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10286283": {
"type": "attachments",
"id": "arts_10286283",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10286283",
"found": true
},
"parent": 13263887,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594.jpg",
"width": 1243,
"height": 699
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2014/12/selma02-62452763187ce7260782f661f723bcbc1143130a-e1471475466594-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1420762154,
"modified": 1495529518,
"caption": "Director Ava DuVernay on the set of 'Selma'",
"description": "Director Ava DuVernay on the set of \u003cem>Selma\u003c/em>.",
"title": "Director Ava DuVernay on the set of Selma.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12033483": {
"type": "attachments",
"id": "arts_12033483",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12033483",
"found": true
},
"parent": 12033482,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-543684219-0039ac471d69ce84dcfd9abecfbc515ede7dd50a-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-543684219-0039ac471d69ce84dcfd9abecfbc515ede7dd50a-400x300.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 300
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-543684219-0039ac471d69ce84dcfd9abecfbc515ede7dd50a-960x719.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 719
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-543684219-0039ac471d69ce84dcfd9abecfbc515ede7dd50a-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-543684219-0039ac471d69ce84dcfd9abecfbc515ede7dd50a.jpg",
"width": 3779,
"height": 2832
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-543684219-0039ac471d69ce84dcfd9abecfbc515ede7dd50a-1180x884.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 884
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-543684219-0039ac471d69ce84dcfd9abecfbc515ede7dd50a-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-543684219-0039ac471d69ce84dcfd9abecfbc515ede7dd50a-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-543684219-0039ac471d69ce84dcfd9abecfbc515ede7dd50a-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-543684219-0039ac471d69ce84dcfd9abecfbc515ede7dd50a-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-543684219-0039ac471d69ce84dcfd9abecfbc515ede7dd50a-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-543684219-0039ac471d69ce84dcfd9abecfbc515ede7dd50a-1920x1439.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1439
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-543684219-0039ac471d69ce84dcfd9abecfbc515ede7dd50a-1180x884.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 884
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-543684219-0039ac471d69ce84dcfd9abecfbc515ede7dd50a-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-543684219-0039ac471d69ce84dcfd9abecfbc515ede7dd50a-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/gettyimages-543684219-0039ac471d69ce84dcfd9abecfbc515ede7dd50a-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473207139,
"modified": 1473208588,
"caption": "A man listens to an iPhone.",
"description": "A man listens to an iPhone.",
"title": "A man listens to an iPhone.",
"credit": "Photo: Bill Hinton /Moment Editorial/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11610205": {
"type": "attachments",
"id": "arts_11610205",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11610205",
"found": true
},
"parent": 11610079,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Cosby-going-to-Court-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Cosby-going-to-Court-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Cosby-going-to-Court.jpg",
"width": 800,
"height": 450
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Cosby-going-to-Court-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Cosby-going-to-Court-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Cosby-going-to-Court-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Cosby-going-to-Court-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Cosby-going-to-Court-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Cosby-going-to-Court-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Cosby-going-to-Court-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/05/Cosby-going-to-Court-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1464042748,
"modified": 1464042784,
"caption": " Comedian Bill Cosby exits the preliminary hearing for sexual assault charges on Feb. 2, 2016 at the Montgomery County Courthouse in Norristown, Pennsylvania. ",
"description": " Comedian Bill Cosby exits the preliminary hearing for sexual assault charges on Feb. 2, 2016 at the Montgomery County Courthouse in Norristown, Pennsylvania. ",
"title": "Bill Cosby Preliminary Hearing",
"credit": "Photo: William Thomas Cain/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12032690": {
"type": "attachments",
"id": "arts_12032690",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12032690",
"found": true
},
"parent": 12032680,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Aaron-Davis-001-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Aaron-Davis-001-400x247.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 247
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Aaron-Davis-001-960x594.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 594
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Aaron-Davis-001-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Aaron-Davis-001-e1473203193430.jpg",
"width": 1920,
"height": 1188
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Aaron-Davis-001-1180x730.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 730
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Aaron-Davis-001-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Aaron-Davis-001-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Aaron-Davis-001-800x495.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 495
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Aaron-Davis-001-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Aaron-Davis-001-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Aaron-Davis-001-1920x1188.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1188
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Aaron-Davis-001-1180x730.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 730
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Aaron-Davis-001-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Aaron-Davis-001-768x475.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 475
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/Aaron-Davis-001-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473192965,
"modified": 1473193565,
"caption": "Aaron Davis with Lance Bowman keeping him company Saturday morning at Eastshore Park near Oakland's Lake Merritt",
"description": "Aaron Davis with Lance Bowman keeping him company Saturday morning at Eastshore Park near Oakland's Lake Merritt",
"title": "Aaron Davis with Lance Bowman keeping him company Saturday morning at Eastshore Park near Oakland's Lake Merritt",
"credit": "Photo: Cy Musiker/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"128435": {
"type": "authors",
"id": "128435",
"meta": {
"override": true
},
"slug": "128435",
"name": "Jonathan Curiel",
"firstName": "Jonathan",
"lastName": "Curiel",
"bio": "Jonathan Curiel has written widely about music, film, books, art, photography and other cultural subjects. \u003ci>SF Weekly's\u003c/i> art critic, he is a former staff writer with the \u003ci>San Francisco Chronicle\u003c/i>, and has also written on the arts for \u003ca href=\"http://www.salon.com/\">Salon\u003c/a>, the \u003ci>Christian Science Monitor\u003c/i>, \u003ci>The Wire\u003c/i> (a London music magazine), \u003ci>Tablet\u003c/i> and \u003ci>GlobalPost\u003c/i>. He has researched architecture at England's Oxford University, taught music journalism at the UCLA Herb Alpert School of Music, and been a juror at the San Francisco International Film Festival.",
"email": "jonathancuriel@hotmail.com",
"isLoading": false
},
"byline_news_11081142": {
"type": "authors",
"id": "byline_news_11081142",
"meta": {
"override": true
},
"slug": "byline_news_11081142",
"name": "Camila Domonoske",
"isLoading": false
},
"byline_arts_12038287": {
"type": "authors",
"id": "byline_arts_12038287",
"meta": {
"override": true
},
"slug": "byline_arts_12038287",
"name": "Dave Gram, Associated Press",
"isLoading": false
},
"byline_arts_12033678": {
"type": "authors",
"id": "byline_arts_12033678",
"meta": {
"override": true
},
"slug": "byline_arts_12033678",
"name": "Jake Coyle, Associated Press",
"isLoading": false
},
"byline_arts_12033482": {
"type": "authors",
"id": "byline_arts_12033482",
"meta": {
"override": true
},
"slug": "byline_arts_12033482",
"name": "Laura Sydell",
"isLoading": false
},
"byline_arts_12033282": {
"type": "authors",
"id": "byline_arts_12033282",
"meta": {
"override": true
},
"slug": "byline_arts_12033282",
"name": "Maryclaire Dale & Michael R. Sisak, Associated Press",
"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"
},
"ctiee": {
"type": "authors",
"id": "8660",
"meta": {
"index": "authors_1716337520",
"id": "8660",
"found": true
},
"name": "Charlise Tiee",
"firstName": "Charlise",
"lastName": "Tiee",
"slug": "ctiee",
"email": "snailwing@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Bay Area-based writer and painter. Reviews performances of classical music and audience behavior at \u003ca href=\"http://operatattler.com\" target=\"_blank\">The Opera Tattler\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Charlise Tiee | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ctiee"
},
"cescobar": {
"type": "authors",
"id": "11241",
"meta": {
"index": "authors_1716337520",
"id": "11241",
"found": true
},
"name": "Claudia Escobar",
"firstName": "Claudia",
"lastName": "Escobar",
"slug": "cescobar",
"email": "cescobar@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Tropical latin visual story teller extraordinaire! bread maker apprentice.",
"avatar": "https://secure.gravatar.com/avatar/88fd5f70de3d9e639900002806a7a708?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Claudia Escobar | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/88fd5f70de3d9e639900002806a7a708?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/88fd5f70de3d9e639900002806a7a708?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cescobar"
},
"mkrasny": {
"type": "authors",
"id": "11247",
"meta": {
"index": "authors_1716337520",
"id": "11247",
"found": true
},
"name": "Michael Krasny",
"firstName": "Michael",
"lastName": "Krasny",
"slug": "mkrasny",
"email": "mkrasny@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Michael Krasny was the former host of the program, Forum. He was with ABC in both radio and television and migrated to public broadcasting in 1993. He was a Professor of English at San Francisco State University and also taught at Stanford, the University of San Francisco and the University of California, as well as in the Fulbright International Institutes. A veteran interviewer for the nationally broadcast City Arts and Lectures, he is the author of a number of books, including “Off Mike: A Memoir of Talk Radio and Literary Life” (Stanford University Press) “Spiritual Envy” (New World); “Sound Ideas” (with M.E. Sokolik/ McGraw-Hill); “Let There Be Laughter” (Harper-Collins) as well as the twenty-four lecture series in DVD, audio and book, “Short Story Masterpieces” (The Teaching Company). He has interviewed many of the world’s leading political, cultural, literary, science and technology figures, as well as major figures from the world of entertainment. He is the recipient of many awards and honors including the S.Y. Agnon Medal for Intellectual Achievement; The Eugene Block Award for Human Rights Journalism; the James Madison Freedom of Information Award; the Excellence in Journalism Award from the National Lesbian and Gay Journalists Association; Career Achievement Award from the Society of Professional Journalists and an award from the Radio and Television News Directors Association. He holds a B.A. (cum laude) and M.A. from Ohio University and a PhD from the University of Wisconsin.",
"avatar": "https://secure.gravatar.com/avatar/243c9ef51f3b90a42850d3a766d24865?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "forum",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Michael Krasny | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/243c9ef51f3b90a42850d3a766d24865?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/243c9ef51f3b90a42850d3a766d24865?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mkrasny"
}
},
"pagesReducer": {
"arts_category_news": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"score": 10.810465
},
"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": 228
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=news",
"seeMore": false,
"paginated": true,
"page": 228
}
},
{
"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_12041924": {
"type": "posts",
"id": "arts_12041924",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12041924",
"score": null,
"sort": [
1473433250000
]
},
"guestAuthors": [],
"slug": "sacred-voyage-when-soundwave-first-came-to-the-grace-cathedral",
"title": "Sacred Voyage: When 'Soundwave' First Came to the Grace Cathedral",
"publishDate": 1473433250,
"format": "video",
"headTitle": "Sacred Voyage: When ‘Soundwave’ First Came to the Grace Cathedral | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>From its start back in 2004, the Soundwave Festival has been about harnessing the power of sound in order to revel in it. Yet this season, its 7th biennial, is the first its artists have performed at the \u003ca href=\"http://www.gracecathedral.org/\" target=\"_blank\" rel=\"noopener\">Grace Cathedral\u003c/a>, San Francisco’s Mecca of sound, where Duke Ellington premiered his first set of \u003ca href=\"https://en.wikipedia.org/wiki/Duke_Ellington%27s_Sacred_Concerts\" target=\"_blank\" rel=\"noopener\">Sacred Concert compositions\u003c/a> — what he called “the most important thing I’ve done.”\u003c/p>\n\u003cp>The festival occurs every two years, and the organizers, the \u003ca href=\"http://me-di-ate.net/\" target=\"_blank\" rel=\"noopener\">ME’DI.ATE Art Group\u003c/a>, take an entire month to host performances from dozens of artists in various venues all over the city, all of which were inspired by a theme that changes with each season.\u003c/p>\n\u003cp>The theme of \u003cem>Soundwave ((7)) Architecture\u003c/em>, 2016’s Soundwave Biennial, was to commission works that explored the connections to our physical environment and how they shape our lives. For its first two performances at the acoustically gorgeous, almost century-old French cathedral, the artists were tasked with creating performances that both exploited the Grace Cathedral’s structure and explored different themes.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">In the July 29 concert, Sounding Bodies: Embodied Architectures, four \u003c/span>\u003cspan class=\"s1\">artists were tasked with demonstrating the different ways bodies could be \u003c/span>\u003cspan class=\"s1\">used as vessels for sound. For the second concert on August 5, Invisible \u003c/span>\u003cspan class=\"s1\">Fortress, another four \u003c/span>\u003cspan class=\"s1\">artists explored the concept of buildings and issues facing the \u003c/span>\u003cspan class=\"s1\">communities that inhabit them.\u003c/span>\u003c/p>\n\u003cp>Many of the artists explored these themes using dancing, singing, electronic noises and elaborate light shows. For example, \u003ca href=\"http://www.joelasqo.com/\" target=\"_blank\" rel=\"noopener\">Joe Lasqo\u003c/a> and Ensemble used ancient Vedic architectural principles to create structures of sound, light, and even digital information.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was very important that is wasn’t just only an art piece, it was a ritual, it was something that should bring more magical energy into existence,” Lasqo said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The video above, from KQED Arts, is a sampling of the performances at Grace Cathedral over two nights this past summer.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Artists examine the rapidly transforming landscape of the San Francisco Bay Area for Soundwave's 7th biennial.",
"status": "publish",
"parent": 0,
"modified": 1726770925,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 336
},
"headData": {
"title": "Sacred Voyage: When 'Soundwave' First Came to the Grace Cathedral | KQED",
"description": "Artists examine the rapidly transforming landscape of the San Francisco Bay Area for Soundwave's 7th biennial.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sacred Voyage: When 'Soundwave' First Came to the Grace Cathedral",
"datePublished": "2016-09-09T08:00:50-07:00",
"dateModified": "2024-09-19T11:35:25-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"videoEmbed": "https://www.youtube.com/watch?v=KHcIZ-NNv1E",
"sticky": false,
"nprStoryId": "493270220",
"path": "/arts/12041924/sacred-voyage-when-soundwave-first-came-to-the-grace-cathedral",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From its start back in 2004, the Soundwave Festival has been about harnessing the power of sound in order to revel in it. Yet this season, its 7th biennial, is the first its artists have performed at the \u003ca href=\"http://www.gracecathedral.org/\" target=\"_blank\" rel=\"noopener\">Grace Cathedral\u003c/a>, San Francisco’s Mecca of sound, where Duke Ellington premiered his first set of \u003ca href=\"https://en.wikipedia.org/wiki/Duke_Ellington%27s_Sacred_Concerts\" target=\"_blank\" rel=\"noopener\">Sacred Concert compositions\u003c/a> — what he called “the most important thing I’ve done.”\u003c/p>\n\u003cp>The festival occurs every two years, and the organizers, the \u003ca href=\"http://me-di-ate.net/\" target=\"_blank\" rel=\"noopener\">ME’DI.ATE Art Group\u003c/a>, take an entire month to host performances from dozens of artists in various venues all over the city, all of which were inspired by a theme that changes with each season.\u003c/p>\n\u003cp>The theme of \u003cem>Soundwave ((7)) Architecture\u003c/em>, 2016’s Soundwave Biennial, was to commission works that explored the connections to our physical environment and how they shape our lives. For its first two performances at the acoustically gorgeous, almost century-old French cathedral, the artists were tasked with creating performances that both exploited the Grace Cathedral’s structure and explored different themes.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">In the July 29 concert, Sounding Bodies: Embodied Architectures, four \u003c/span>\u003cspan class=\"s1\">artists were tasked with demonstrating the different ways bodies could be \u003c/span>\u003cspan class=\"s1\">used as vessels for sound. For the second concert on August 5, Invisible \u003c/span>\u003cspan class=\"s1\">Fortress, another four \u003c/span>\u003cspan class=\"s1\">artists explored the concept of buildings and issues facing the \u003c/span>\u003cspan class=\"s1\">communities that inhabit them.\u003c/span>\u003c/p>\n\u003cp>Many of the artists explored these themes using dancing, singing, electronic noises and elaborate light shows. For example, \u003ca href=\"http://www.joelasqo.com/\" target=\"_blank\" rel=\"noopener\">Joe Lasqo\u003c/a> and Ensemble used ancient Vedic architectural principles to create structures of sound, light, and even digital information.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was very important that is wasn’t just only an art piece, it was a ritual, it was something that should bring more magical energy into existence,” Lasqo said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The video above, from KQED Arts, is a sampling of the performances at Grace Cathedral over two nights this past summer.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12041924/sacred-voyage-when-soundwave-first-came-to-the-grace-cathedral",
"authors": [
"11241",
"93"
],
"categories": [
"arts_966",
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1007"
],
"featImg": "arts_12042313",
"label": "arts"
},
"news_11081142": {
"type": "posts",
"id": "news_11081142",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11081142",
"score": null,
"sort": [
1473449640000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1473449640,
"format": "standard",
"disqusTitle": "After Facebook Censored Iconic Photo, Norwegian Newspaper Pushed Back",
"title": "After Facebook Censored Iconic Photo, Norwegian Newspaper Pushed Back",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cstrong>Updated at 2:15 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>To Norwegian author Tom Egeland, it was one of the most significant war photos ever taken.\u003c/p>\n\u003cp>To Facebook, it was a \"display of nudity.\"\u003c/p>\n\u003cp>The social media site's removal of the image sparked an uproar — and, on Friday, the company announced it was reversing course and would be reinstating the image.\u003c/p>\n\u003cp>Last month, Egeland used the platform to post the iconic photo of a girl, screaming and naked, fleeing napalm bombs during the Vietnam War. The photo, taken by Associated Press photographer Nick Ut, was part of a collection of photos that Egeland said changed the history of warfare, the Norwegian newspaper \u003ca href=\"http://www.aftenposten.no/meninger/kommentar/Dear-Mark-I-am-writing-this-to-inform-you-that-I-shall-not-comply-with-your-requirement-to-remove-this-picture-604156b.html\">Aftenposten reports\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Facebook took it down and banned Egeland from posting anything for 24 hours. And Norwegians swiftly responded, posting the Pulitzer Prize-winning \"napalm girl\" photo on their own accounts in protest, The Associated Press reports.\u003c/p>\n\u003cp>Photo after photo was removed by Facebook, and fury grew. (Disclosure: Facebook pays NPR, and other leading news organizations, to produce live video streams that run on the site.)\u003c/p>\n\u003cp>Kim Phuc, the girl in the photo, is now 53 and runs an organization that provides treatment to child victims of war. As the protests were spreading, a spokeswoman for the organization \u003ca href=\"http://www.dagsavisen.no/verden/the-girl-in-the-picture-saddened-by-facebook-s-focus-on-nudity-1.773232\">told Norwegian paper Dagsavisen\u003c/a> that Kim Phuc \"is saddened by those who would focus on the nudity in the historic picture rather than the powerful message it conveys.\"\u003c/p>\n\u003cp>The AP, which owns the photo, also chimed in. The director of media relations, on behalf of the organization, expressed pride in the photo and recognition of its historical impact ... and noted that \"we reserve our rights to this powerful image.\"\u003c/p>\n\u003cp>On Friday, \u003cem>Aftenposten\u003c/em> — Norway's largest newspaper — ran a front-page letter directly addressed to Facebook CEO Mark Zuckerberg.\u003c/p>\n\u003cp>The newspaper had published the image on its Facebook page until it, too, was removed.\u003c/p>\n\u003cp>\"I am upset, disappointed — well, in fact even afraid — of what you are about to do to a mainstay of our democratic society,\" \u003cem>Aftenposten\u003c/em>'s editor-in-chief, Espen Egil Hansen, wrote in the letter. He pointed out that on top of deleting the image again and again, Facebook was blocking Egeland from making posts about the dispute.\u003c/p>\n\u003cp>\"Listen, Mark, this is serious,\" Hansen wrote. \"First you create rules that don't distinguish between child pornography and famous war photographs. Then you practice these rules without allowing space for good judgement. Finally you even censor criticism against and a discussion about the decision — and you punish the person who dares to voice criticism.\"\u003c/p>\n\u003cp>He argues that the photo itself illustrates the significance of the dispute:\u003c/p>\n\u003cblockquote>\n\u003cp>\"The napalm-girl is by far the most iconic documentary photography from the Vietnam war. The media played a decisive role in reporting different stories about the war than the men in charge wanted them to publish. They brought about a change of attitude which played a role in ending the war. They contributed to a more open, more critical debate. This is how a democracy must function.\u003c/p>\n\u003cp>\"The free and independent media have an important task in bringing information, even including pictures, which sometimes may be unpleasant, and which the ruling elite and maybe even ordinary citizens cannot bear to see or hear, but which might be important precisely for that reason. ...\u003c/p>\n\u003cp>\"The media have a responsibility to consider publication in every single case. This may be a heavy responsibility. Each editor must weigh the pros and cons.\u003c/p>\n\u003cp>\"This right and duty, which all editors in the world have, should not be undermined by algorithms encoded in your office in California.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>Hansen called Zuckerberg \"the world's most powerful editor\" and wrote that Facebook's prominence as a platform opens up possibilities — and risks.\u003c/p>\n\u003cp>\"If you will not distinguish between child pornography and documentary photographs from a war, this will simply promote stupidity and fail to bring human beings closer to each other,\" he warned.\u003c/p>\n\u003cp>Norwegian Prime Minister Erna Solberg joined in the protest on Friday. After Facebook removed the Kim Phuc photo, she reposted it with a censoring black rectangle — and gave several other historic images the same treatment.\u003c/p>\n\u003cp>Later on Friday, Facebook said in a statement that it would be reversing course on the image, given \"its status as an iconic image of historical importance\":\u003c/p>\n\u003cblockquote>\n\u003cp>\"After hearing from our community, we looked again at how our Community Standards were applied in this case. An image of a naked child would normally be presumed to violate our Community Standards, and in some countries might even qualify as child pornography. In this case, we recognize the history and global importance of this image in documenting a particular moment in time.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>The company said it would reinstate the photo in places where it knew it had been removed — which might take a few days — and will adjust its \"review mechanisms\" so it can be shared on the site moving forward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The social media giant did not apologize for the earlier decision to remove the photo. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Facebook+Censored+Iconic+Photo%2C+Norwegian+Newspaper+Pushed+Back&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"disqusIdentifier": "11081142 http://ww2.kqed.org/news/?p=11081142",
"disqusUrl": "https://ww2.kqed.org/news/2016/09/09/after-facebook-censored-iconic-photo-norwegian-newspaper-pushed-back/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 854,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1473469052,
"excerpt": "Facebook removed a photo of a girl fleeing napalm bombs — a world-famous image of the Vietnam War — citing the \"display of nudity.\" After uproar, Facebook announced it will be reinstating the image.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Facebook removed a photo of a girl fleeing napalm bombs — a world-famous image of the Vietnam War — citing the "display of nudity." After uproar, Facebook announced it will be reinstating the image.",
"title": "After Facebook Censored Iconic Photo, Norwegian Newspaper Pushed Back | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "After Facebook Censored Iconic Photo, Norwegian Newspaper Pushed Back",
"datePublished": "2016-09-09T12:34:00-07:00",
"dateModified": "2016-09-09T17:57:32-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"guestAuthors": [],
"slug": "after-facebook-censored-iconic-photo-norwegian-newspaper-pushed-back",
"status": "publish",
"sourceUrl": "http://www.npr.org/",
"nprApiLink": "http://api.npr.org/query?id=493267919&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Camila Domonoske",
"nprStoryDate": "Fri, 09 Sep 2016 12:34:00 -0400",
"nprLastModifiedDate": "Fri, 09 Sep 2016 15:13:51 -0400",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2016/09/09/493267919/after-facebook-censors-iconic-photo-norwegian-newspaper-pushes-back?ft=nprml&f=493267919",
"nprImageAgency": "Aftenposten",
"source": "NPR",
"nprStoryId": "493267919",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 09 Sep 2016 15:11:00 -0400",
"path": "/news/11081142/after-facebook-censored-iconic-photo-norwegian-newspaper-pushed-back",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 2:15 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>To Norwegian author Tom Egeland, it was one of the most significant war photos ever taken.\u003c/p>\n\u003cp>To Facebook, it was a \"display of nudity.\"\u003c/p>\n\u003cp>The social media site's removal of the image sparked an uproar — and, on Friday, the company announced it was reversing course and would be reinstating the image.\u003c/p>\n\u003cp>Last month, Egeland used the platform to post the iconic photo of a girl, screaming and naked, fleeing napalm bombs during the Vietnam War. The photo, taken by Associated Press photographer Nick Ut, was part of a collection of photos that Egeland said changed the history of warfare, the Norwegian newspaper \u003ca href=\"http://www.aftenposten.no/meninger/kommentar/Dear-Mark-I-am-writing-this-to-inform-you-that-I-shall-not-comply-with-your-requirement-to-remove-this-picture-604156b.html\">Aftenposten reports\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Facebook took it down and banned Egeland from posting anything for 24 hours. And Norwegians swiftly responded, posting the Pulitzer Prize-winning \"napalm girl\" photo on their own accounts in protest, The Associated Press reports.\u003c/p>\n\u003cp>Photo after photo was removed by Facebook, and fury grew. (Disclosure: Facebook pays NPR, and other leading news organizations, to produce live video streams that run on the site.)\u003c/p>\n\u003cp>Kim Phuc, the girl in the photo, is now 53 and runs an organization that provides treatment to child victims of war. As the protests were spreading, a spokeswoman for the organization \u003ca href=\"http://www.dagsavisen.no/verden/the-girl-in-the-picture-saddened-by-facebook-s-focus-on-nudity-1.773232\">told Norwegian paper Dagsavisen\u003c/a> that Kim Phuc \"is saddened by those who would focus on the nudity in the historic picture rather than the powerful message it conveys.\"\u003c/p>\n\u003cp>The AP, which owns the photo, also chimed in. The director of media relations, on behalf of the organization, expressed pride in the photo and recognition of its historical impact ... and noted that \"we reserve our rights to this powerful image.\"\u003c/p>\n\u003cp>On Friday, \u003cem>Aftenposten\u003c/em> — Norway's largest newspaper — ran a front-page letter directly addressed to Facebook CEO Mark Zuckerberg.\u003c/p>\n\u003cp>The newspaper had published the image on its Facebook page until it, too, was removed.\u003c/p>\n\u003cp>\"I am upset, disappointed — well, in fact even afraid — of what you are about to do to a mainstay of our democratic society,\" \u003cem>Aftenposten\u003c/em>'s editor-in-chief, Espen Egil Hansen, wrote in the letter. He pointed out that on top of deleting the image again and again, Facebook was blocking Egeland from making posts about the dispute.\u003c/p>\n\u003cp>\"Listen, Mark, this is serious,\" Hansen wrote. \"First you create rules that don't distinguish between child pornography and famous war photographs. Then you practice these rules without allowing space for good judgement. Finally you even censor criticism against and a discussion about the decision — and you punish the person who dares to voice criticism.\"\u003c/p>\n\u003cp>He argues that the photo itself illustrates the significance of the dispute:\u003c/p>\n\u003cblockquote>\n\u003cp>\"The napalm-girl is by far the most iconic documentary photography from the Vietnam war. The media played a decisive role in reporting different stories about the war than the men in charge wanted them to publish. They brought about a change of attitude which played a role in ending the war. They contributed to a more open, more critical debate. This is how a democracy must function.\u003c/p>\n\u003cp>\"The free and independent media have an important task in bringing information, even including pictures, which sometimes may be unpleasant, and which the ruling elite and maybe even ordinary citizens cannot bear to see or hear, but which might be important precisely for that reason. ...\u003c/p>\n\u003cp>\"The media have a responsibility to consider publication in every single case. This may be a heavy responsibility. Each editor must weigh the pros and cons.\u003c/p>\n\u003cp>\"This right and duty, which all editors in the world have, should not be undermined by algorithms encoded in your office in California.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>Hansen called Zuckerberg \"the world's most powerful editor\" and wrote that Facebook's prominence as a platform opens up possibilities — and risks.\u003c/p>\n\u003cp>\"If you will not distinguish between child pornography and documentary photographs from a war, this will simply promote stupidity and fail to bring human beings closer to each other,\" he warned.\u003c/p>\n\u003cp>Norwegian Prime Minister Erna Solberg joined in the protest on Friday. After Facebook removed the Kim Phuc photo, she reposted it with a censoring black rectangle — and gave several other historic images the same treatment.\u003c/p>\n\u003cp>Later on Friday, Facebook said in a statement that it would be reversing course on the image, given \"its status as an iconic image of historical importance\":\u003c/p>\n\u003cblockquote>\n\u003cp>\"After hearing from our community, we looked again at how our Community Standards were applied in this case. An image of a naked child would normally be presumed to violate our Community Standards, and in some countries might even qualify as child pornography. In this case, we recognize the history and global importance of this image in documenting a particular moment in time.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>The company said it would reinstate the photo in places where it knew it had been removed — which might take a few days — and will adjust its \"review mechanisms\" so it can be shared on the site moving forward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The social media giant did not apologize for the earlier decision to remove the photo. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Facebook+Censored+Iconic+Photo%2C+Norwegian+Newspaper+Pushed+Back&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11081142/after-facebook-censored-iconic-photo-norwegian-newspaper-pushed-back",
"authors": [
"byline_news_11081142"
],
"programs": [
"news_6944",
"news_72"
],
"categories": [
"news_8"
],
"tags": [
"news_249",
"news_205",
"news_17286"
],
"affiliates": [
"news_253"
],
"featImg": "news_11081143",
"label": "source_news_11081142"
},
"arts_12037700": {
"type": "posts",
"id": "arts_12037700",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12037700",
"score": null,
"sort": [
1473384956000
]
},
"guestAuthors": [],
"slug": "muni-art-contest-winners-announced-art-to-be-displayed-on-more-buses",
"title": "Muni Art Contest Winners Announced, Art to be Displayed on More Buses",
"publishDate": 1473384956,
"format": "standard",
"headTitle": "Muni Art Contest Winners Announced, Art to be Displayed on More Buses | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Community-focused non-profit San Francisco Beautiful announced the winners of its second annual Muni Art contest last week, adding that the winners will receive more exposure than last year as the number of buses that will display their work has doubled, from 50 to 100.\u003c/p>\n\u003cp>Out of 53 applicants, a panel of notable figures whittled it down to 10 contestants, and the five winners were chosen by the public through online voting last month. Those winners were:\u003c/p>\n\u003cul>\n\u003cli>Monica Tiulescu\u003c/li>\n\u003cli>Lillian Shanahan\u003c/li>\n\u003cli>Luis Pinto\u003c/li>\n\u003cli>Counterpoint Studio\u003c/li>\n\u003cli>Todd Kurnat\u003c/li>\n\u003c/ul>\n\u003cp>Tiulescu won the most votes, 606, and her first place prize included $2,000. The other four winners will receive $1,250 each.\u003c/p>\n\u003cp>Each winner will have two months to create eight panels to be displayed in 20 buses. They will be exhibited starting in January of next year and will be taken down by that April.\u003c/p>\n\u003cp>Besides the prize money and the opportunity to expose their work to hundreds of thousands of Muni riders, the contest has had provided other benefits to its winners. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Last year the first place grand prize winner Ariel Dunitz-Johnson had her art on a bus, and somebody high up at Gap was on her bus. A few week later, she actually got a contract with Gap, doing some pen-and-ink illustrations for them,” Peter Clarke, communications manager for San Francisco Beautiful, said. “There were a few different stories like that.” \u003c/p>\n\u003cp>“That is exactly the effect we wanted,” Darcy Brown, executive director for San Francisco Beautiful, said. “We wanted these artists to catch a break, and how bigger of a break can you have than getting their work in front of 700,000 people everyday.”\u003c/p>\n\u003cp>The program has also proven to be so popular that in order to get Muni to increase the number of buses that carry the art, all Brown had to do was ask.\u003c/p>\n\u003cp>“We’ve heard from so many people in the city that would tell us, ‘It’s so cool to get on a bus that’s a gallery!” Brown said.\u003c/p>\n\u003cp>Started in 1947, \u003ca href=\"http://sfbeautiful.org/mission/\" target=\"_blank\" rel=\"noopener\">San Francisco Beautiful’s\u003c/a> mission is to “create and protect the unique beauty and livability of San Francisco.” Along with current projects such as Muni Art and improvement work in various neighborhoods, the organization is also credited with saving San Francisco’s cable car system, launching the first citywide tree planting program and legalizing sidewalk seating.\u003c/p>\n\u003cp>\u003ci>Here are five images from the proposals of the winners of the 2016 Muni Art contest. To read their statements, \u003ca href=\"http://sfbeautiful.org/muniart/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"large\" ids=\"12038299,12038298,12038297,12038296,12038294\"]\u003c/p>\n\n",
"blocks": [],
"excerpt": "This year's winners will receive cash prizes and have their work posted on 100 buses instead of 50",
"status": "publish",
"parent": 0,
"modified": 1726787446,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": true,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 453
},
"headData": {
"title": "Muni Art Contest Winners Announced, Art to be Displayed on More Buses | KQED",
"description": "This year's winners will receive cash prizes and have their work posted on 100 buses instead of 50",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Muni Art Contest Winners Announced, Art to be Displayed on More Buses",
"datePublished": "2016-09-08T18:35:56-07:00",
"dateModified": "2024-09-19T16:10:46-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "493201358",
"path": "/arts/12037700/muni-art-contest-winners-announced-art-to-be-displayed-on-more-buses",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Community-focused non-profit San Francisco Beautiful announced the winners of its second annual Muni Art contest last week, adding that the winners will receive more exposure than last year as the number of buses that will display their work has doubled, from 50 to 100.\u003c/p>\n\u003cp>Out of 53 applicants, a panel of notable figures whittled it down to 10 contestants, and the five winners were chosen by the public through online voting last month. Those winners were:\u003c/p>\n\u003cul>\n\u003cli>Monica Tiulescu\u003c/li>\n\u003cli>Lillian Shanahan\u003c/li>\n\u003cli>Luis Pinto\u003c/li>\n\u003cli>Counterpoint Studio\u003c/li>\n\u003cli>Todd Kurnat\u003c/li>\n\u003c/ul>\n\u003cp>Tiulescu won the most votes, 606, and her first place prize included $2,000. The other four winners will receive $1,250 each.\u003c/p>\n\u003cp>Each winner will have two months to create eight panels to be displayed in 20 buses. They will be exhibited starting in January of next year and will be taken down by that April.\u003c/p>\n\u003cp>Besides the prize money and the opportunity to expose their work to hundreds of thousands of Muni riders, the contest has had provided other benefits to its winners. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Last year the first place grand prize winner Ariel Dunitz-Johnson had her art on a bus, and somebody high up at Gap was on her bus. A few week later, she actually got a contract with Gap, doing some pen-and-ink illustrations for them,” Peter Clarke, communications manager for San Francisco Beautiful, said. “There were a few different stories like that.” \u003c/p>\n\u003cp>“That is exactly the effect we wanted,” Darcy Brown, executive director for San Francisco Beautiful, said. “We wanted these artists to catch a break, and how bigger of a break can you have than getting their work in front of 700,000 people everyday.”\u003c/p>\n\u003cp>The program has also proven to be so popular that in order to get Muni to increase the number of buses that carry the art, all Brown had to do was ask.\u003c/p>\n\u003cp>“We’ve heard from so many people in the city that would tell us, ‘It’s so cool to get on a bus that’s a gallery!” Brown said.\u003c/p>\n\u003cp>Started in 1947, \u003ca href=\"http://sfbeautiful.org/mission/\" target=\"_blank\" rel=\"noopener\">San Francisco Beautiful’s\u003c/a> mission is to “create and protect the unique beauty and livability of San Francisco.” Along with current projects such as Muni Art and improvement work in various neighborhoods, the organization is also credited with saving San Francisco’s cable car system, launching the first citywide tree planting program and legalizing sidewalk seating.\u003c/p>\n\u003cp>\u003ci>Here are five images from the proposals of the winners of the 2016 Muni Art contest. To read their statements, \u003ca href=\"http://sfbeautiful.org/muniart/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "gallery",
"attributes": {
"named": {
"type": "slideshow",
"size": "large",
"ids": "12038299,12038298,12038297,12038296,12038294",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12037700/muni-art-contest-winners-announced-art-to-be-displayed-on-more-buses",
"authors": [
"93"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1448",
"arts_596"
],
"featImg": "arts_12038295",
"label": "arts"
},
"arts_12041518": {
"type": "posts",
"id": "arts_12041518",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12041518",
"score": null,
"sort": [
1473379251000
]
},
"guestAuthors": [],
"slug": "cy-and-davids-fall-arts-preview-a-whiz-kid-at-monterey-and-an-oakland-rapper-on-treasure-island",
"title": "Cy and David's Fall Arts Preview: A Whiz Kid at Monterey and an Oakland Rapper on Treasure Island",
"publishDate": 1473379251,
"format": "standard",
"headTitle": "Cy and David’s Fall Arts Preview: A Whiz Kid at Monterey and an Oakland Rapper on Treasure Island | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/282023539″ 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\u003cfigure id=\"attachment_12041713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041713\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-800x465.jpg\" alt=\"21 year old Jacob Collier debuts at the Monterey Jazz Festival\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-400x232.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-768x446.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-1180x686.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-960x558.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">21-year-old Jacob Collier debuts at the Monterey Jazz Festival \u003ccite>(Photo: Greg Gorman/Monterey Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 16-18:\u003c/strong> The Monterey Jazz Festival turns 59, the longest continuously-running jazz fest in the world, and the organizers are keeping it as fresh as ever. Along with such exalted names as Wayne Shorter, Gregory Porter, Joshua Redman and Cecile McLorin Salvant they’ve booked mulit-instrumentalist \u003ca href=\"http://www.jacobcollier.co.uk/\" target=\"_blank\" rel=\"noopener\">Jacob Collier,\u003c/a> a 21-year-old whiz kid and protege of \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">Quincy Jones\u003c/a>, who is blowing minds in the world of jazz and pop with his four-and-a-half octave range, looping skills and great songwriting. Christian McBride also hosts and directs a well-deserved tribute to Jones. And Berkeley singer and flutist Elena Pinderhughes makes her debut as well. Details for this giant of a festival are \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12041715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041715\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-800x533.jpg\" alt=\"Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova join the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere of ‘Layla and Majnun’ at Cal Performances\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova join the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere of ‘Layla and Majnun’ at Cal Performances \u003ccite>(Photo: David O'Connor/Cal Performances )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept 30 – Oct. 2:\u003c/strong> We’re featuring just one dance performance here — but it’s choice. \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances \u003c/a>is the West Coast headquarters for \u003ca href=\"http://markmorrisdancegroup.org/\" target=\"_blank\" rel=\"noopener\">Mark Morris \u003c/a>and his dancers, and we are so lucky. This year, Morris has brought a world premiere to open the Cal Performances season, the evening-length dance piece \u003cem>Layla and Majnun. \u003c/em>It’s based on a story of forbidden love by Persian poet Nizami Ganjavi and will be performed by the Morris company dancers, the Silk Road Ensemble (also Cal Performances regulars) and Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova. Details \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/layla-and-majnun-mark-morris-dance-group-silk-road-ensemble.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12041926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041926\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-800x554.jpg\" alt=\"Yiji Shi in costume as Bao Yu with director Stan Lai as they rehearse for world premiere of 'Dream of the Red Chamber' at San Francisco Opera\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yiji Shi in costume as Bao Yu with director Stan Lai as they rehearse for world premiere of ‘Dream of the Red Chamber’ at San Francisco Opera \u003ccite>(Photo: Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 10 – Sept. 29:\u003c/strong> \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> is probably the biggest deal of the fall classical music calendar. This \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> world premiere (a co-production with \u003ca href=\"https://www.hk.artsfestival.org/en/\" target=\"_blank\" rel=\"noopener\">The Hong Kong Arts Festival\u003c/a>) is based on the \u003ca href=\"https://www.theguardian.com/books/2016/feb/12/dream-of-the-red-chamber-cao-zuequin-chinas-favourite-novel-unknown-west\" target=\"_blank\" rel=\"noopener\">classic 18th century Chinese novel \u003c/a>about art, poetry, and a doomed love affair. The all-star creative team includes composer and co-librettist Bright Sheng, co-librettist and playwright David Henry Hwang, director Stan Lai and production designer Tim Yip. Hwang insisted that all the leads be Asian or Asian-American, so there’s no yellowface in this production, and the subtitles for the English language libretto are in both English and Chinese. What I heard and saw at a dress rehearsal Wednesday night was truly gorgeous. Details are \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12041929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-800x532.jpg\" alt=\"Philip Glass will join four other pianists for a performance of all 20 of his piano etudes as Bing Hall opens its season at Stanford University\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Philip Glass will join four other pianists for a performance of all 20 of his piano etudes as Bing Hall opens its season at Stanford University \u003ccite>(Photo: Fernando Aceves/Stanford Live)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sept. 29: \u003ca href=\"http://philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass\u003c/a> is almost 80 years old, a few months younger than his minimalist contemporary Steve Reich, but his fingers are still nimble enough, we hope. Glass will join four other pianists including the Bay Area’s brilliant \u003ca href=\"http://sarahcahill.com/\" target=\"_blank\" rel=\"noopener\">Sarah Cahill \u003c/a>in a performance of all 20 of Glass’ piano études to open the Bing Concert Hall season at Stanford University. Details \u003ca href=\"http://live.stanford.edu/calendar/september-2016/complete-piano-%C3%A9tudes-philip-glass\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12041930\" class=\"wp-caption aligncenter\" style=\"max-width: 548px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12041930 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931.jpg\" alt=\"David Kelly plays President Buzz Windrip in Berkeley Rep’s new adaptation of Sinclair Lewis’ 1935 novel ‘It Can’t Happen Here.’ a new adaptation based on the 1935 Sinclair Lewis novel.\" width=\"548\" height=\"343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931.jpg 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931-400x250.jpg 400w\" sizes=\"(max-width: 548px) 100vw, 548px\">\u003cfigcaption class=\"wp-caption-text\">David Kelly plays President Buzz Windrip in Berkeley Rep’s new adaptation of Sinclair Lewis’ 1935 novel ‘It Can’t Happen Here.’ a new adaptation based on the 1935 Sinclair Lewis novel. \u003ccite>(Photo: Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 23 – Nov. 7\u003c/strong>: I have a very long list of must-see plays for this fall, but none are more topical than this new adaptation of the 1935 Sinclair Lewis novel It Can’t Happen Here. Written as Hitler and Mussolini were on the rise in Europe, Lewis wrote a sprawling novel about what would happen if the US elected a populist president who promised tax cuts, a guaranteed income, and to kick out immigrants (Jews and Italians were among the targets), and make America great again. Berkeley Rep’s Artistic Director Tony Taccone and Bennett Cohen have written this new theatrical version about what happens when Windrip becomes a fascist dictator. Details \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uIaFn5lsLd8\u003c/p>\n\u003cp>\u003cstrong>Oct. 2 – 30:\u003c/strong> \u003cem>Hedwig and the Angry Inch\u003c/em> is almost as topical in its musical treatment of the genderqueer East German glam rocker Hedwig and her husband Yitzhak, their rock band and Hedwig’s botched sex change operation. Bay Area bred stars Darren Criss (\u003cem>Glee\u003c/em>) stars as Hedwig and Lena Hall as Yitzhak. Criss looks great in lipstick and glitter eye makeup. Details of the tour coming to the Golden Gate theater are \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=hedwigandtheangryinch&BOparam::WScontent::loadArticle::context_id=&gclid=CN_0yI_PgM8CFZFafgoddDQBKA\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gk1rTKB6ZF8\u003c/p>\n\u003cp>\u003cstrong>Oct. 19 – Nov. 13\u003c/strong>: American Conservatory Theater’s Carey Perloff is often at her best directing plays by the brilliant Tom Stoppard (\u003cem>Arcadia, Shakespeare in Love)\u003c/em>, who seems to like staging world premieres in San Francisco. Perloff directs \u003cem>The Hard Problem\u003c/em>, Stoppard’s first new play in 10 years, about sex, science, supercomputing and the the nature of the soul. Details \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cbtuw6ptZW4\u003c/p>\n\u003cp>\u003cstrong>Sept. 29 – Oct. 2\u003c/strong>: We live in an age of music festival abundance, yet only one manages to be so inclusive and free. \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass \u003c/a>is Warren Hellman’s great gift to the Bay Area. This year, Dave Alvin offers a tribute to the late Merle Haggard, who died in April, and you can also catch Mavis Staples, John Hammond, San Pablo’s Los Cenzontles, Emmylou Harris (of course), Berkeley’s \u003ca href=\"http://www.laurielewis.com/\" target=\"_blank\" rel=\"noopener\">Laurie Lewis\u003c/a>, South Bay bluesman \u003ca href=\"http://www.akikumar.com/\" target=\"_blank\" rel=\"noopener\">Aki Kumar\u003c/a>, Buddy Miller, even Cyndi Lauper. Details \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=42t0ij0wj-U\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Oct. 15 & 16\u003c/strong>: The Treasure Island Music Festival is celebrating 10 years in the middle of San Francisco Bay, and it’s the last for the festival at this location. So savor the sunsets. While you’re there, enjoy Oakland’s Kamaiyah, who may be the hottest rapper in the Bay Area, along with the dreamy Icelandic pop of Sigur Ros, James Blake, Purity Ring, Glass Animals, and Ice Cube. And take public transit to Treasure Island and Hardly Strictly; driving there will kill your spirit. Details \u003ca href=\"http://treasureislandfestival.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
"blocks": [],
"excerpt": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"status": "publish",
"parent": 0,
"modified": 1726787448,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 1143
},
"headData": {
"title": "Cy and David's Fall Arts Preview: A Whiz Kid at Monterey and an Oakland Rapper on Treasure Island | KQED",
"description": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Fall Arts Preview: A Whiz Kid at Monterey and an Oakland Rapper on Treasure Island",
"datePublished": "2016-09-08T17:00:51-07:00",
"dateModified": "2024-09-19T16:10:48-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "493192357",
"path": "/arts/12041518/cy-and-davids-fall-arts-preview-a-whiz-kid-at-monterey-and-an-oakland-rapper-on-treasure-island",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\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/282023539″&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/282023539″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_12041713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041713\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-800x465.jpg\" alt=\"21 year old Jacob Collier debuts at the Monterey Jazz Festival\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-400x232.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-768x446.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-1180x686.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-960x558.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">21-year-old Jacob Collier debuts at the Monterey Jazz Festival \u003ccite>(Photo: Greg Gorman/Monterey Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 16-18:\u003c/strong> The Monterey Jazz Festival turns 59, the longest continuously-running jazz fest in the world, and the organizers are keeping it as fresh as ever. Along with such exalted names as Wayne Shorter, Gregory Porter, Joshua Redman and Cecile McLorin Salvant they’ve booked mulit-instrumentalist \u003ca href=\"http://www.jacobcollier.co.uk/\" target=\"_blank\" rel=\"noopener\">Jacob Collier,\u003c/a> a 21-year-old whiz kid and protege of \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">Quincy Jones\u003c/a>, who is blowing minds in the world of jazz and pop with his four-and-a-half octave range, looping skills and great songwriting. Christian McBride also hosts and directs a well-deserved tribute to Jones. And Berkeley singer and flutist Elena Pinderhughes makes her debut as well. Details for this giant of a festival are \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12041715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041715\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-800x533.jpg\" alt=\"Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova join the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere of ‘Layla and Majnun’ at Cal Performances\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova join the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere of ‘Layla and Majnun’ at Cal Performances \u003ccite>(Photo: David O'Connor/Cal Performances )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept 30 – Oct. 2:\u003c/strong> We’re featuring just one dance performance here — but it’s choice. \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances \u003c/a>is the West Coast headquarters for \u003ca href=\"http://markmorrisdancegroup.org/\" target=\"_blank\" rel=\"noopener\">Mark Morris \u003c/a>and his dancers, and we are so lucky. This year, Morris has brought a world premiere to open the Cal Performances season, the evening-length dance piece \u003cem>Layla and Majnun. \u003c/em>It’s based on a story of forbidden love by Persian poet Nizami Ganjavi and will be performed by the Morris company dancers, the Silk Road Ensemble (also Cal Performances regulars) and Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova. Details \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/layla-and-majnun-mark-morris-dance-group-silk-road-ensemble.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12041926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041926\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-800x554.jpg\" alt=\"Yiji Shi in costume as Bao Yu with director Stan Lai as they rehearse for world premiere of 'Dream of the Red Chamber' at San Francisco Opera\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yiji Shi in costume as Bao Yu with director Stan Lai as they rehearse for world premiere of ‘Dream of the Red Chamber’ at San Francisco Opera \u003ccite>(Photo: Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 10 – Sept. 29:\u003c/strong> \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> is probably the biggest deal of the fall classical music calendar. This \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> world premiere (a co-production with \u003ca href=\"https://www.hk.artsfestival.org/en/\" target=\"_blank\" rel=\"noopener\">The Hong Kong Arts Festival\u003c/a>) is based on the \u003ca href=\"https://www.theguardian.com/books/2016/feb/12/dream-of-the-red-chamber-cao-zuequin-chinas-favourite-novel-unknown-west\" target=\"_blank\" rel=\"noopener\">classic 18th century Chinese novel \u003c/a>about art, poetry, and a doomed love affair. The all-star creative team includes composer and co-librettist Bright Sheng, co-librettist and playwright David Henry Hwang, director Stan Lai and production designer Tim Yip. Hwang insisted that all the leads be Asian or Asian-American, so there’s no yellowface in this production, and the subtitles for the English language libretto are in both English and Chinese. What I heard and saw at a dress rehearsal Wednesday night was truly gorgeous. Details are \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12041929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-800x532.jpg\" alt=\"Philip Glass will join four other pianists for a performance of all 20 of his piano etudes as Bing Hall opens its season at Stanford University\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Philip Glass will join four other pianists for a performance of all 20 of his piano etudes as Bing Hall opens its season at Stanford University \u003ccite>(Photo: Fernando Aceves/Stanford Live)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sept. 29: \u003ca href=\"http://philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass\u003c/a> is almost 80 years old, a few months younger than his minimalist contemporary Steve Reich, but his fingers are still nimble enough, we hope. Glass will join four other pianists including the Bay Area’s brilliant \u003ca href=\"http://sarahcahill.com/\" target=\"_blank\" rel=\"noopener\">Sarah Cahill \u003c/a>in a performance of all 20 of Glass’ piano études to open the Bing Concert Hall season at Stanford University. Details \u003ca href=\"http://live.stanford.edu/calendar/september-2016/complete-piano-%C3%A9tudes-philip-glass\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12041930\" class=\"wp-caption aligncenter\" style=\"max-width: 548px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12041930 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931.jpg\" alt=\"David Kelly plays President Buzz Windrip in Berkeley Rep’s new adaptation of Sinclair Lewis’ 1935 novel ‘It Can’t Happen Here.’ a new adaptation based on the 1935 Sinclair Lewis novel.\" width=\"548\" height=\"343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931.jpg 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931-400x250.jpg 400w\" sizes=\"(max-width: 548px) 100vw, 548px\">\u003cfigcaption class=\"wp-caption-text\">David Kelly plays President Buzz Windrip in Berkeley Rep’s new adaptation of Sinclair Lewis’ 1935 novel ‘It Can’t Happen Here.’ a new adaptation based on the 1935 Sinclair Lewis novel. \u003ccite>(Photo: Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 23 – Nov. 7\u003c/strong>: I have a very long list of must-see plays for this fall, but none are more topical than this new adaptation of the 1935 Sinclair Lewis novel It Can’t Happen Here. Written as Hitler and Mussolini were on the rise in Europe, Lewis wrote a sprawling novel about what would happen if the US elected a populist president who promised tax cuts, a guaranteed income, and to kick out immigrants (Jews and Italians were among the targets), and make America great again. Berkeley Rep’s Artistic Director Tony Taccone and Bennett Cohen have written this new theatrical version about what happens when Windrip becomes a fascist dictator. Details \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\" target=\"_blank\" rel=\"noopener\">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>\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/uIaFn5lsLd8'\n title='//www.youtube.com/embed/uIaFn5lsLd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 2 – 30:\u003c/strong> \u003cem>Hedwig and the Angry Inch\u003c/em> is almost as topical in its musical treatment of the genderqueer East German glam rocker Hedwig and her husband Yitzhak, their rock band and Hedwig’s botched sex change operation. Bay Area bred stars Darren Criss (\u003cem>Glee\u003c/em>) stars as Hedwig and Lena Hall as Yitzhak. Criss looks great in lipstick and glitter eye makeup. Details of the tour coming to the Golden Gate theater are \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=hedwigandtheangryinch&BOparam::WScontent::loadArticle::context_id=&gclid=CN_0yI_PgM8CFZFafgoddDQBKA\" target=\"_blank\" rel=\"noopener\">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/gk1rTKB6ZF8'\n title='//www.youtube.com/embed/gk1rTKB6ZF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 19 – Nov. 13\u003c/strong>: American Conservatory Theater’s Carey Perloff is often at her best directing plays by the brilliant Tom Stoppard (\u003cem>Arcadia, Shakespeare in Love)\u003c/em>, who seems to like staging world premieres in San Francisco. Perloff directs \u003cem>The Hard Problem\u003c/em>, Stoppard’s first new play in 10 years, about sex, science, supercomputing and the the nature of the soul. Details \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">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/cbtuw6ptZW4'\n title='//www.youtube.com/embed/cbtuw6ptZW4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 29 – Oct. 2\u003c/strong>: We live in an age of music festival abundance, yet only one manages to be so inclusive and free. \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass \u003c/a>is Warren Hellman’s great gift to the Bay Area. This year, Dave Alvin offers a tribute to the late Merle Haggard, who died in April, and you can also catch Mavis Staples, John Hammond, San Pablo’s Los Cenzontles, Emmylou Harris (of course), Berkeley’s \u003ca href=\"http://www.laurielewis.com/\" target=\"_blank\" rel=\"noopener\">Laurie Lewis\u003c/a>, South Bay bluesman \u003ca href=\"http://www.akikumar.com/\" target=\"_blank\" rel=\"noopener\">Aki Kumar\u003c/a>, Buddy Miller, even Cyndi Lauper. Details \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">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/42t0ij0wj-U'\n title='//www.youtube.com/embed/42t0ij0wj-U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 15 & 16\u003c/strong>: The Treasure Island Music Festival is celebrating 10 years in the middle of San Francisco Bay, and it’s the last for the festival at this location. So savor the sunsets. While you’re there, enjoy Oakland’s Kamaiyah, who may be the hottest rapper in the Bay Area, along with the dreamy Icelandic pop of Sigur Ros, James Blake, Purity Ring, Glass Animals, and Ice Cube. And take public transit to Treasure Island and Hardly Strictly; driving there will kill your spirit. Details \u003ca href=\"http://treasureislandfestival.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12041518/cy-and-davids-fall-arts-preview-a-whiz-kid-at-monterey-and-an-oakland-rapper-on-treasure-island",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_966",
"arts_69",
"arts_235",
"arts_967",
"arts_70"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596",
"arts_626"
],
"featImg": "arts_12041927",
"label": "arts_140"
},
"arts_12036897": {
"type": "posts",
"id": "arts_12036897",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12036897",
"score": null,
"sort": [
1473352953000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1473352953,
"format": "standard",
"title": "What's behind SF Opera's Chinese Opera Kick?",
"headTitle": "What’s behind SF Opera’s Chinese Opera Kick? | KQED",
"content": "\u003cp>Why has Asia — and China in particular — held such a fascination for western opera composers and companies? The “Exotic East” is the backdrop for many classic operas, from Vivaldi’s obscure \u003ci>Teuzzone\u003c/i> of 1719 to Puccini’s famous \u003ci>Turandot\u003c/i> that premiered in 1926, each featuring complicated love plots set in the Chinese court.\u003c/p>\n\u003cp>China continues to provide a framework for contemporary American operas. We’ve seen a rash of them over the past decade, including recent revivals of John Adams’ \u003ci>Nixon in China\u003c/i> in San Francisco, New York, and San Diego, and the world premieres of several Chinese-themed works, such as Tan Dun’s \u003ci>First Emperor\u003c/i> (2006) at the Metropolitan Opera in New York, and Zhou Long’s Pulitzer Prize-winning \u003ci>Madame White Snake\u003c/i> of 2010 at the defunct Opera Boston.\u003c/p>\n\u003cfigure id=\"attachment_12036902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036902 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-800x451.jpg\" alt=\"Supertitles in Dream of the Red Chamber\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Supertitles in action for San Francisco Opera’s Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now comes the latest world premiere from \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera \u003c/a>(SF Opera) — \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003ci>Dream of the Red Chamber\u003c/i>\u003c/a>. The work, sung in English with Chinese supertitles and based on an epic 18th century novel by Cao Xueqin, tells the story of a courtly love triangle between an aristocratic young man and two very different women against the backdrop of a crumbling dynasty.\u003c/p>\n\u003cp>\u003ci>Dream \u003c/i>is SF Opera’s second Chinese-themed world premiere in less than a decade. The first, in 2008, was \u003ci>Bonesetter’s Daughter\u003c/i>, based on \u003ca href=\"https://www.amytan.net/\" target=\"_blank\" rel=\"noopener\">Amy Tan\u003c/a>’s bestselling novel of the same name and composed by Stewart Wallace. “The Chinese-inspired works in recent years speak in part to the rich literary and cultural heritage of China,” says SF Opera’s general director Matthew Shilvock of the trend among major American opera companies for \u003ci>chinoiserie\u003c/i>. “Stories like \u003ci>Dream of the Red Chamber\u003c/i> are incredible epics of humanity that speak to us with the power of the Norse legends behind Wagner’s \u003ci>Ring\u003c/i>, and the European literary traditions of authors from Euripides to Victor Hugo and beyond.”\u003c/p>\n\u003cp>But “great stories” are only part of the equation. The company’s programming choices are also being driven by commercial considerations. \u003ci>Bonesetter’s Daughter\u003c/i> attracted near-capacity audiences throughout its run, so it’s no surprise that the company is looking to replicate and extend its box office mojo with \u003ci>Dream\u003c/i>, particularly among the growing Asian opera audience, half of which identify as Chinese. Over the past couple of years, SF Opera has seen the size of that audience grow, from 11% to 12.5%.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Strong talent pipeline\u003c/b>\u003c/p>\n\u003cp>An important part of capturing those potential new customers means highlighting actual Asian talent. This, as opposed to putting a bunch of white performers in “yellowface” in works written, staged and designed by predominantly or entirely caucasian creative teams, as has been overwhelmingly the case throughout opera history. “Asian Americans are very used to seeing white people cast in Asian and Asian American roles,” says Rachel Lem, a board member for The \u003ca href=\"http://sfopera.com/buy-tickets/bravo-club/\" target=\"_blank\" rel=\"noopener\">Bravo! Club\u003c/a>, SF Opera’s young people’s association. “Not only does this decrease opportunities for people of color, it also tends to result in offensive yellowface. I hesitate to attend productions of \u003ci>Madama Butterfly\u003c/i> or \u003ci>The Mikado\u003c/i>, as I don’t wish to sit through hours of white actors in “Asian” makeup and wigs.”\u003c/p>\n\u003cp>That’s why SF Opera has assembled a star-studded Asian production crew and cast for this project — albeit one that extends beyond China: The man behind the music is acclaimed Chinese-American composer \u003ca href=\"http://www.brightsheng.com/\" target=\"_blank\" rel=\"noopener\">Bright Sheng\u003c/a>; Tony Award-winning dramatist \u003ca href=\"http://arts.columbia.edu/theatre/faculty/david-henry-hwang\" target=\"_blank\" rel=\"noopener\">David Henry Hwang\u003c/a> co-wrote the libretto with the composer; sets and costumes are the handiwork of Tim Yip, who designed the hit movie \u003ci>Crouching Tiger Hidden Dragon\u003c/i>; and Stan Lai, a world-class Taiwanese director, is staging the show.\u003c/p>\n\u003cfigure id=\"attachment_12036903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036903 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-800x451.jpg\" alt=\"Pureum Jo and Yijie Shi\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pureum Jo (Dai Yu) and tenor Yijie Shi (Bao Yu) in rehearsal for San Francisco Opera’s Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work also gives SF Opera the opportunity to hire Asian opera singers. Key performers in \u003ci>Dream\u003c/i> include Korean soprano \u003ca href=\"http://www.pureumjosoprano.com/\" target=\"_blank\" rel=\"noopener\">Pureum Jo\u003c/a>, a Juilliard and Houston Grand Opera alum, and Chinese tenor Yijie Shi, who has sung at the Metropolitan Opera in New York and at Deutsche Oper Berlin.\u003c/p>\n\u003cp>Thankfully the pipeline of singers is particularly strong these days — though American companies tend to cast a sweeping net that encompasses performers from many different Asian ethnicities when it comes to hiring singers for specifically Chinese-themed operas. “In the last 15 years, there has been an incredible increase in the number of Asian singers participating in U.S. training programs and appearing on US stages,” Shilvock says. “It used to be the case that Asian artists would first come to a U.S. master’s or doctoral program. Now we are inviting a number of singers each year into our programs directly from Asia as operatic performances, teaching and activity has seen a huge increase, particularly in China.”\u003c/p>\n\u003cp>\u003cb>Fertile ground for cross-pollination\u003c/b>\u003c/p>\n\u003cp>It’s not just opera education that’s blossoming in China. “What is exciting at the moment is the huge growth of operatic activity within China,” Shilvock says. “The building of so many incredible opera houses and the development of a rich tradition of performance that integrates western repertoire with Chinese opera.”\u003c/p>\n\u003cp>Western operas have long had a following among Chinese audiences, a trend that began with European opera troupes that visited Shanghai back in the late 1800s. In recent years, opera houses designed by internationally renowned architects have been springing up in many major Chinese cities, such as the Guangzhou Opera House, designed by Iraqi-British architect Zaha Hadid, and the Harbin Opera House, designed by the Beijing-headquartered firm, MAD Studio. And the appetite for European warhorses abounds in these venues; the National Centre for the Performing Arts in Beijing regularly schedules works by the likes of Bizet, Verdi, and Wagner.\u003c/p>\n\u003cp>With all of this activity, a certain amount of cross-pollination is natural — and operas that attempt to fuse eastern and western traditions aren’t only being seen on U.S. stages. The Chinese began writing their own hybrid western-style operas as early as 1940s with Yan Jinxuan’s \u003ci>The White Haired Girl\u003c/i>. And Chinese-American pieces have been known to cross the Pacific, like Zhou Long’s English-language \u003ca href=\"http://www.madamewhitesnake.org/opera.html\" target=\"_blank\" rel=\"noopener\">\u003ci>Madame White Snake\u003c/i>\u003c/a>, which was performed in Beijing after its run in Boston. That opera, based on an ancient folktale, has even outlived its opera company, and returns to Boston this weekend in a \u003ca href=\"https://artsemerson.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">run at Emerson College\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12036905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-800x451.jpg\" alt=\"Bright Sheng and Hyona Kim\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer Bright Sheng with mezzo-soprano Hyona Kim (Lady Wang) backstage during SF Opera’s rehearsals for Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Dream\u003c/i> itself is going on to a staging at the 45th annual \u003ca href=\"https://www.hk.artsfestival.org/en/\" target=\"_blank\" rel=\"noopener\">Hong Kong Arts Festival\u003c/a> next year and is being translated into mandarin to ready it for further international exposure beyond 2017. This is an accomplishment for any new opera, since it’s always a challenge for a contemporary work to receive additional productions after its world premiere. And it’s big win for SF Opera, which has put on eight new operas in the last decade, but only this one and \u003ca href=\"http://philipglass.com/compositions/appomattox/\" target=\"_blank\" rel=\"noopener\">Philip Glass’ \u003ci>Appomattox\u003c/i>\u003c/a> have so far gone on to the possibility of a second life after its world premiere.\u003c/p>\n\u003cp>It’s notable that \u003cem>Dream\u003c/em> is having its Asian premiere next year in Hong Kong alongside famed Czech composer Leos Janáček’s \u003ci>The Makropulos Case\u003c/i>. That work, a staple of western opera houses, is only now being seen by audiences on the other side of the Pacific — nearly a century since it made its debut in Brno in what is now the Czech Republic. That it will only take \u003ci>Dream\u003c/i> six months to travel from San Francisco to Hong Kong speaks to how much this classic story resonates with Chinese audiences as well as the international bankability of the production team.\u003c/p>\n\u003cp>San Francisco audiences are equally excited about \u003ci>Dream\u003c/i>. “It is such a significant work of world literature and they are terrific artists” says \u003ca href=\"http://aas.sfsu.edu/dariotis-wei-ming\" target=\"_blank\" rel=\"noopener\">Wei Ming Dariotis\u003c/a>, an Asian American studies professor at San Francisco State University. “Chinese American culture is part of our heritage and a rich source of inspiration.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>San Francisco Opera’s \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">Dream\u003c/a>\u003cem>\u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\"> of the Red Chamber\u003c/a>\u003c/em> plays Saturday, Sep.10 – Thursday, Sep. 29 at the War Memorial Opera House in San Francisco.\u003c/strong>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1465,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705033092,
"excerpt": "With its latest world premiere 'Dream of the Red Chamber,' SF Opera hopes to build on a growing trend for new, Chinese-themed works.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "With its latest world premiere 'Dream of the Red Chamber,' SF Opera hopes to build on a growing trend for new, Chinese-themed works.",
"title": "What's behind SF Opera's Chinese Opera Kick? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What's behind SF Opera's Chinese Opera Kick?",
"datePublished": "2016-09-08T09:42:33-07:00",
"dateModified": "2024-01-11T20:18:12-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "whats-behind-sf-operas-chinese-opera-kick",
"status": "publish",
"sticky": false,
"nprStoryId": "493127446",
"path": "/arts/12036897/whats-behind-sf-operas-chinese-opera-kick",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Why has Asia — and China in particular — held such a fascination for western opera composers and companies? The “Exotic East” is the backdrop for many classic operas, from Vivaldi’s obscure \u003ci>Teuzzone\u003c/i> of 1719 to Puccini’s famous \u003ci>Turandot\u003c/i> that premiered in 1926, each featuring complicated love plots set in the Chinese court.\u003c/p>\n\u003cp>China continues to provide a framework for contemporary American operas. We’ve seen a rash of them over the past decade, including recent revivals of John Adams’ \u003ci>Nixon in China\u003c/i> in San Francisco, New York, and San Diego, and the world premieres of several Chinese-themed works, such as Tan Dun’s \u003ci>First Emperor\u003c/i> (2006) at the Metropolitan Opera in New York, and Zhou Long’s Pulitzer Prize-winning \u003ci>Madame White Snake\u003c/i> of 2010 at the defunct Opera Boston.\u003c/p>\n\u003cfigure id=\"attachment_12036902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036902 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-800x451.jpg\" alt=\"Supertitles in Dream of the Red Chamber\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4405_edit-e1473352477446-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Supertitles in action for San Francisco Opera’s Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now comes the latest world premiere from \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera \u003c/a>(SF Opera) — \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003ci>Dream of the Red Chamber\u003c/i>\u003c/a>. The work, sung in English with Chinese supertitles and based on an epic 18th century novel by Cao Xueqin, tells the story of a courtly love triangle between an aristocratic young man and two very different women against the backdrop of a crumbling dynasty.\u003c/p>\n\u003cp>\u003ci>Dream \u003c/i>is SF Opera’s second Chinese-themed world premiere in less than a decade. The first, in 2008, was \u003ci>Bonesetter’s Daughter\u003c/i>, based on \u003ca href=\"https://www.amytan.net/\" target=\"_blank\" rel=\"noopener\">Amy Tan\u003c/a>’s bestselling novel of the same name and composed by Stewart Wallace. “The Chinese-inspired works in recent years speak in part to the rich literary and cultural heritage of China,” says SF Opera’s general director Matthew Shilvock of the trend among major American opera companies for \u003ci>chinoiserie\u003c/i>. “Stories like \u003ci>Dream of the Red Chamber\u003c/i> are incredible epics of humanity that speak to us with the power of the Norse legends behind Wagner’s \u003ci>Ring\u003c/i>, and the European literary traditions of authors from Euripides to Victor Hugo and beyond.”\u003c/p>\n\u003cp>But “great stories” are only part of the equation. The company’s programming choices are also being driven by commercial considerations. \u003ci>Bonesetter’s Daughter\u003c/i> attracted near-capacity audiences throughout its run, so it’s no surprise that the company is looking to replicate and extend its box office mojo with \u003ci>Dream\u003c/i>, particularly among the growing Asian opera audience, half of which identify as Chinese. Over the past couple of years, SF Opera has seen the size of that audience grow, from 11% to 12.5%.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Strong talent pipeline\u003c/b>\u003c/p>\n\u003cp>An important part of capturing those potential new customers means highlighting actual Asian talent. This, as opposed to putting a bunch of white performers in “yellowface” in works written, staged and designed by predominantly or entirely caucasian creative teams, as has been overwhelmingly the case throughout opera history. “Asian Americans are very used to seeing white people cast in Asian and Asian American roles,” says Rachel Lem, a board member for The \u003ca href=\"http://sfopera.com/buy-tickets/bravo-club/\" target=\"_blank\" rel=\"noopener\">Bravo! Club\u003c/a>, SF Opera’s young people’s association. “Not only does this decrease opportunities for people of color, it also tends to result in offensive yellowface. I hesitate to attend productions of \u003ci>Madama Butterfly\u003c/i> or \u003ci>The Mikado\u003c/i>, as I don’t wish to sit through hours of white actors in “Asian” makeup and wigs.”\u003c/p>\n\u003cp>That’s why SF Opera has assembled a star-studded Asian production crew and cast for this project — albeit one that extends beyond China: The man behind the music is acclaimed Chinese-American composer \u003ca href=\"http://www.brightsheng.com/\" target=\"_blank\" rel=\"noopener\">Bright Sheng\u003c/a>; Tony Award-winning dramatist \u003ca href=\"http://arts.columbia.edu/theatre/faculty/david-henry-hwang\" target=\"_blank\" rel=\"noopener\">David Henry Hwang\u003c/a> co-wrote the libretto with the composer; sets and costumes are the handiwork of Tim Yip, who designed the hit movie \u003ci>Crouching Tiger Hidden Dragon\u003c/i>; and Stan Lai, a world-class Taiwanese director, is staging the show.\u003c/p>\n\u003cfigure id=\"attachment_12036903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036903 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-800x451.jpg\" alt=\"Pureum Jo and Yijie Shi\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/F2A7730-e1473352528130-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Soprano Pureum Jo (Dai Yu) and tenor Yijie Shi (Bao Yu) in rehearsal for San Francisco Opera’s Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work also gives SF Opera the opportunity to hire Asian opera singers. Key performers in \u003ci>Dream\u003c/i> include Korean soprano \u003ca href=\"http://www.pureumjosoprano.com/\" target=\"_blank\" rel=\"noopener\">Pureum Jo\u003c/a>, a Juilliard and Houston Grand Opera alum, and Chinese tenor Yijie Shi, who has sung at the Metropolitan Opera in New York and at Deutsche Oper Berlin.\u003c/p>\n\u003cp>Thankfully the pipeline of singers is particularly strong these days — though American companies tend to cast a sweeping net that encompasses performers from many different Asian ethnicities when it comes to hiring singers for specifically Chinese-themed operas. “In the last 15 years, there has been an incredible increase in the number of Asian singers participating in U.S. training programs and appearing on US stages,” Shilvock says. “It used to be the case that Asian artists would first come to a U.S. master’s or doctoral program. Now we are inviting a number of singers each year into our programs directly from Asia as operatic performances, teaching and activity has seen a huge increase, particularly in China.”\u003c/p>\n\u003cp>\u003cb>Fertile ground for cross-pollination\u003c/b>\u003c/p>\n\u003cp>It’s not just opera education that’s blossoming in China. “What is exciting at the moment is the huge growth of operatic activity within China,” Shilvock says. “The building of so many incredible opera houses and the development of a rich tradition of performance that integrates western repertoire with Chinese opera.”\u003c/p>\n\u003cp>Western operas have long had a following among Chinese audiences, a trend that began with European opera troupes that visited Shanghai back in the late 1800s. In recent years, opera houses designed by internationally renowned architects have been springing up in many major Chinese cities, such as the Guangzhou Opera House, designed by Iraqi-British architect Zaha Hadid, and the Harbin Opera House, designed by the Beijing-headquartered firm, MAD Studio. And the appetite for European warhorses abounds in these venues; the National Centre for the Performing Arts in Beijing regularly schedules works by the likes of Bizet, Verdi, and Wagner.\u003c/p>\n\u003cp>With all of this activity, a certain amount of cross-pollination is natural — and operas that attempt to fuse eastern and western traditions aren’t only being seen on U.S. stages. The Chinese began writing their own hybrid western-style operas as early as 1940s with Yan Jinxuan’s \u003ci>The White Haired Girl\u003c/i>. And Chinese-American pieces have been known to cross the Pacific, like Zhou Long’s English-language \u003ca href=\"http://www.madamewhitesnake.org/opera.html\" target=\"_blank\" rel=\"noopener\">\u003ci>Madame White Snake\u003c/i>\u003c/a>, which was performed in Beijing after its run in Boston. That opera, based on an ancient folktale, has even outlived its opera company, and returns to Boston this weekend in a \u003ca href=\"https://artsemerson.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">run at Emerson College\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12036905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12036905 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-800x451.jpg\" alt=\"Bright Sheng and Hyona Kim\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/B5A4536-e1473352570495-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer Bright Sheng with mezzo-soprano Hyona Kim (Lady Wang) backstage during SF Opera’s rehearsals for Dream of the Red Chamber. \u003ccite>(Photo: Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Dream\u003c/i> itself is going on to a staging at the 45th annual \u003ca href=\"https://www.hk.artsfestival.org/en/\" target=\"_blank\" rel=\"noopener\">Hong Kong Arts Festival\u003c/a> next year and is being translated into mandarin to ready it for further international exposure beyond 2017. This is an accomplishment for any new opera, since it’s always a challenge for a contemporary work to receive additional productions after its world premiere. And it’s big win for SF Opera, which has put on eight new operas in the last decade, but only this one and \u003ca href=\"http://philipglass.com/compositions/appomattox/\" target=\"_blank\" rel=\"noopener\">Philip Glass’ \u003ci>Appomattox\u003c/i>\u003c/a> have so far gone on to the possibility of a second life after its world premiere.\u003c/p>\n\u003cp>It’s notable that \u003cem>Dream\u003c/em> is having its Asian premiere next year in Hong Kong alongside famed Czech composer Leos Janáček’s \u003ci>The Makropulos Case\u003c/i>. That work, a staple of western opera houses, is only now being seen by audiences on the other side of the Pacific — nearly a century since it made its debut in Brno in what is now the Czech Republic. That it will only take \u003ci>Dream\u003c/i> six months to travel from San Francisco to Hong Kong speaks to how much this classic story resonates with Chinese audiences as well as the international bankability of the production team.\u003c/p>\n\u003cp>San Francisco audiences are equally excited about \u003ci>Dream\u003c/i>. “It is such a significant work of world literature and they are terrific artists” says \u003ca href=\"http://aas.sfsu.edu/dariotis-wei-ming\" target=\"_blank\" rel=\"noopener\">Wei Ming Dariotis\u003c/a>, an Asian American studies professor at San Francisco State University. “Chinese American culture is part of our heritage and a rich source of inspiration.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Opera’s \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">Dream\u003c/a>\u003cem>\u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\"> of the Red Chamber\u003c/a>\u003c/em> plays Saturday, Sep.10 – Thursday, Sep. 29 at the War Memorial Opera House in San Francisco.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12036897/whats-behind-sf-operas-chinese-opera-kick",
"authors": [
"8660"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69",
"arts_235",
"arts_967"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_12041325",
"label": "arts_140"
},
"forum_2010101856577": {
"type": "posts",
"id": "forum_2010101856577",
"meta": {
"index": "posts_1716263798",
"site": "forum",
"id": "2010101856577",
"score": null,
"sort": [
1473354000000
]
},
"parent": 0,
"labelTerm": {
"site": "forum",
"term": 3
},
"blocks": [],
"publishDate": 1473291342,
"format": "audio",
"title": "Joan Baez Reflects on Career as Activist, Singer",
"headTitle": "Joan Baez Reflects on Career as Activist, Singer | KQED",
"content": "\u003cp>Joan Baez was 18 when she first performed at the Newport Folk Festival. She quickly rose to fame, popularizing songs like “Diamonds and Rust” and “The Night They Drove Old Dixie Down.” But the folk singer also quickly established herself as an activist, marching alongside Martin Luther King, Jr. and protesting the Vietnam War. “I sang about what I believed in,” she says.” Baez joins us in studio and reflects on her music, the influence of her Mexican heritage and the activism still to be done.\u003c/p>\n\u003cp>More Information:\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.pbs.org/wnet/gperf/joan-baez-75th-birthday-celebration-8-things-you-didnt-know-about-joan-baez/4904/\">8 Things You Didn’t Know About Joan Baez\u003c/a> (PBS.org)\u003c/li>\n\u003cli>\u003ca href=\"http://www.joanbaez.com/\">JoanBaez.com\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 117,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 4
},
"modified": 1704435121,
"excerpt": "Joan Baez was 18 when she first performed at the Newport Folk Festival. She quickly rose to fame, popularizing songs like \"Diamonds and Rust\" and \"The Night They Drove Old Dixie Down.\" But the folk singer also quickly established herself as an activist, marching alongside Martin Luther King, Jr. and protesting the Vietnam War. \"I sang about what I believed in,\" she says.\" Baez joins us in studio and reflects on her music, the influence of her Mexican heritage and the activism still to be done.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Joan Baez was 18 when she first performed at the Newport Folk Festival. She quickly rose to fame, popularizing songs like "Diamonds and Rust" and "The Night They Drove Old Dixie Down." But the folk singer also quickly established herself as an activist, marching alongside Martin Luther King, Jr. and protesting the Vietnam War. "I sang about what I believed in," she says." Baez joins us in studio and reflects on her music, the influence of her Mexican heritage and the activism still to be done.",
"title": "Joan Baez Reflects on Career as Activist, Singer | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Joan Baez Reflects on Career as Activist, Singer",
"datePublished": "2016-09-07T16:35:42-07:00",
"dateModified": "2024-01-04T22:12:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "joan-baez-reflects-on-career-as-activist-singer",
"status": "publish",
"audioUrl": "https://www.kqed.org/.stream/mp3splice/radio/forum/2016/09/Forum20160908b.mp3",
"forumGuests": [
{
"name": "Joan Baez",
"bio": "singer-songwriter and social justice activist\u003cbr />\r\n"
}
],
"airdate": 1473354000,
"sticky": false,
"nprStoryId": "493041245",
"path": "/forum/2010101856577/joan-baez-reflects-on-career-as-activist-singer",
"audioDuration": 3092000,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joan Baez was 18 when she first performed at the Newport Folk Festival. She quickly rose to fame, popularizing songs like “Diamonds and Rust” and “The Night They Drove Old Dixie Down.” But the folk singer also quickly established herself as an activist, marching alongside Martin Luther King, Jr. and protesting the Vietnam War. “I sang about what I believed in,” she says.” Baez joins us in studio and reflects on her music, the influence of her Mexican heritage and the activism still to be done.\u003c/p>\n\u003cp>More Information:\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.pbs.org/wnet/gperf/joan-baez-75th-birthday-celebration-8-things-you-didnt-know-about-joan-baez/4904/\">8 Things You Didn’t Know About Joan Baez\u003c/a> (PBS.org)\u003c/li>\n\u003cli>\u003ca href=\"http://www.joanbaez.com/\">JoanBaez.com\u003c/a>\u003c/li>\n\u003c/ul>\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": "/forum/2010101856577/joan-baez-reflects-on-career-as-activist-singer",
"authors": [
"11247"
],
"programs": [
"forum_3"
],
"categories": [
"forum_1623"
],
"tags": [
"forum_32",
"forum_295"
],
"featImg": "forum_2010101856578",
"label": "forum_3"
},
"arts_12038287": {
"type": "posts",
"id": "arts_12038287",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12038287",
"score": null,
"sort": [
1473296683000
]
},
"guestAuthors": [],
"slug": "childrens-author-illustrator-of-llama-llama-stories-dies",
"title": "Children's Author, Illustrator of 'Llama Llama' Stories, Dies",
"publishDate": 1473296683,
"format": "standard",
"headTitle": "Children’s Author, Illustrator of ‘Llama Llama’ Stories, Dies | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Best-selling children’s book author and illustrator Anna Dewdney, who gained fame with her series of \u003cem>Llama Llama\u003c/em> stories, has died at age 50.\u003c/p>\n\u003cp>Dewdney, who had a 15-month battle with brain cancer, died Saturday at her home in Chester, publisher Penguin Young Readers said.\u003c/p>\n\u003cp>“The entire Penguin Young Readers family is heartbroken,” Jen Loja, president of Penguin Young Readers, said in a statement. “And as we grieve, we also celebrate Anna’s life, in dedicating ourselves to carrying forward her mission of putting books into as many little hands as possible.”\u003c/p>\n\u003cp>Dewdney began to gain success in the 1990s as the illustrator of \u003cem>The Peppermint Race\u003c/em>, by Dian Curtis Regan, and other children’s books. She gained her greatest success with the series that began with the 2005 launch of \u003cem>Llama Llama Red Pajama\u003c/em>.\u003c/p>\n\u003cp>That story of Baby Llama’s difficulties getting to sleep at bedtimes was a hit with critics and readers alike. It began a series of stories that grew to more than 10 titles with more than 10 million copies combined. Publishers Weekly reported that Netflix is developing an animated Llama Llama series due out next year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dewdney also was a well-known advocate for children’s literacy. She published a 2013 opinion piece for The Wall Street Journal in which she wrote that “empathy is as important as literacy” when introducing children to reading. By reading with a child, “we are teaching that child to be human,” and the act enables the child “to see the world through someone else’s eyes,” she wrote.\u003c/p>\n\u003cp>Born in New York and raised in Englewood, New Jersey, Dewdney graduated with a bachelor’s degree in art from Wesleyan University. She worked as a waitress, a rural mail carrier and a daycare provider and taught art and history at a boarding school before gaining success as a children’s book illustrator and author.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In lieu of a funeral, Dewdney asked that people read to children, Penguin said.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Dewdney, who had a 15-month battle with brain cancer, died Saturday at her home in Chester",
"status": "publish",
"parent": 0,
"modified": 1726709088,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 350
},
"headData": {
"title": "Children's Author, Illustrator of 'Llama Llama' Stories, Dies | KQED",
"description": "Dewdney, who had a 15-month battle with brain cancer, died Saturday at her home in Chester",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Children's Author, Illustrator of 'Llama Llama' Stories, Dies",
"datePublished": "2016-09-07T18:04:43-07:00",
"dateModified": "2024-09-18T18:24:48-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Dave Gram, Associated Press",
"nprStoryId": "493050433",
"path": "/arts/12038287/childrens-author-illustrator-of-llama-llama-stories-dies",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Best-selling children’s book author and illustrator Anna Dewdney, who gained fame with her series of \u003cem>Llama Llama\u003c/em> stories, has died at age 50.\u003c/p>\n\u003cp>Dewdney, who had a 15-month battle with brain cancer, died Saturday at her home in Chester, publisher Penguin Young Readers said.\u003c/p>\n\u003cp>“The entire Penguin Young Readers family is heartbroken,” Jen Loja, president of Penguin Young Readers, said in a statement. “And as we grieve, we also celebrate Anna’s life, in dedicating ourselves to carrying forward her mission of putting books into as many little hands as possible.”\u003c/p>\n\u003cp>Dewdney began to gain success in the 1990s as the illustrator of \u003cem>The Peppermint Race\u003c/em>, by Dian Curtis Regan, and other children’s books. She gained her greatest success with the series that began with the 2005 launch of \u003cem>Llama Llama Red Pajama\u003c/em>.\u003c/p>\n\u003cp>That story of Baby Llama’s difficulties getting to sleep at bedtimes was a hit with critics and readers alike. It began a series of stories that grew to more than 10 titles with more than 10 million copies combined. Publishers Weekly reported that Netflix is developing an animated Llama Llama series due out next year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dewdney also was a well-known advocate for children’s literacy. She published a 2013 opinion piece for The Wall Street Journal in which she wrote that “empathy is as important as literacy” when introducing children to reading. By reading with a child, “we are teaching that child to be human,” and the act enables the child “to see the world through someone else’s eyes,” she wrote.\u003c/p>\n\u003cp>Born in New York and raised in Englewood, New Jersey, Dewdney graduated with a bachelor’s degree in art from Wesleyan University. She worked as a waitress, a rural mail carrier and a daycare provider and taught art and history at a boarding school before gaining success as a children’s book illustrator and author.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In lieu of a funeral, Dewdney asked that people read to children, Penguin said.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12038287/childrens-author-illustrator-of-llama-llama-stories-dies",
"authors": [
"byline_arts_12038287"
],
"categories": [
"arts_73",
"arts_235"
],
"tags": [
"arts_596",
"arts_1427"
],
"featImg": "arts_12038292",
"label": "arts"
},
"arts_12027462": {
"type": "posts",
"id": "arts_12027462",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12027462",
"score": null,
"sort": [
1473267397000
]
},
"guestAuthors": [
{
"ID": "128435",
"displayName": "Jonathan Curiel",
"firstName": "Jonathan",
"lastName": "Curiel",
"userLogin": "jonathan-curiel",
"userEmail": "jonathancuriel@hotmail.com",
"linkedAccount": "jcuriel",
"website": "",
"description": "Jonathan Curiel has written widely about music, film, books, art, photography and other cultural subjects. \u003ci>SF Weekly's\u003c/i> art critic, he is a former staff writer with the \u003ci>San Francisco Chronicle\u003c/i>, and has also written on the arts for \u003ca href=\"http://www.salon.com/\">Salon\u003c/a>, the \u003ci>Christian Science Monitor\u003c/i>, \u003ci>The Wire\u003c/i> (a London music magazine), \u003ci>Tablet\u003c/i> and \u003ci>GlobalPost\u003c/i>. He has researched architecture at England's Oxford University, taught music journalism at the UCLA Herb Alpert School of Music, and been a juror at the San Francisco International Film Festival.",
"userNicename": "jonathan-curiel",
"type": "guest-author",
"nickname": ""
}
],
"slug": "staging-of-800-year-old-persian-poem-unites-cultures-on-911-anniversary",
"title": "Staging of 800-Year-Old Persian Poem Unites Cultures on 9/11 Anniversary",
"publishDate": 1473267397,
"format": "standard",
"headTitle": "Staging of 800-Year-Old Persian Poem Unites Cultures on 9/11 Anniversary | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>In December of 1972, Helen Mirren and a coterie of other actors openly worried that \u003ca href=\"https://en.wikipedia.org/wiki/Peter_Brook\">Peter Brook\u003c/a> had gone “mad,” and they had a point: The famed British theater director had decided to take the troupe on a 100-day tour across the Sahara Desert and West Africa in four-wheel-drive vehicles so they could perform an interpretation of a 12th-century Persian poem called \u003ca href=\"https://en.wikipedia.org/wiki/The_Conference_of_the_Birds\">\u003cem>The Conference of the Birds\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Nothing like it had ever been attempted. But Brook was committed to staging \u003ca href=\"https://en.wikipedia.org/wiki/Attar_of_Nishapur\">Farid ud-Din Attar\u003c/a>‘s parable about birds who struggle to find a higher truth about the divine and their place in the world.\u003c/p>\n\u003cp>And now Vinita Sud Belani and Usha Srinivasan – directors of two Bay Area arts organizations – are committed to staging Brook’s version of \u003cem>Conference\u003c/em> in San Jose. The show will unfold Friday, Sep. 9 – Sunday, Sep. 11 at the Mexican Heritage Plaza. This time, however, the directors are putting much of the focus on dance, as well as giving many of the birds portrayed in the piece cultural specificity.\u003c/p>\n\u003cfigure id=\"attachment_12027653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12027653 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-800x405.jpg\" width=\"800\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-800x405.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-400x202.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-768x388.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-1180x597.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-1920x971.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-960x485.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Belly dancers (left), an Aztec dancer (center) and hula dancers share the stage in the San Jose production of The Conference of the Birds \u003ccite>(Prabhakar Subrahmanyam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production reads as a veritable avian United Nations. Mexican folkloric dancers represent the herons, Chinese dancers, the phoenix and peacocks, Hawaiian dancers the ducks, and belly dancers the partridges. Dance traditions from India, where Belani and Srinivasan have roots, characterize the parrots and exotic birds, while a Persian dancer plays the Simorgh – a Persian bird of mythical origin that’s a God figure in \u003cem>The Conference of the Birds\u003c/em>.\u003c/p>\n\u003cp>Actors and singers also portray birds, including the hoopoe, which organizes the gathering because it sees the world under such stress. “I see nothing but quarrels, desperate fights for a scrap of territory, wars for a few grains of corn,” the bird bellows in Brook’s version. “This can’t go on.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Brook staged \u003cem>Conference\u003c/em> in sub-Saharan Africa, the Vietnam War was at a desperate stage, and violent conflicts were fresh in Northern Ireland, Germany, and Burundi. Belani and Srinivasan’s version of the work coincides with the 15th anniversary of the 9/11 terror attacks. Belani, who is close friends with the French co-writer of Brook’s production, \u003ca href=\"https://en.wikipedia.org/wiki/Jean-Claude_Carri%C3%A8re\">Jean-Claude Carriere\u003c/a>, whom she met during her years living in France, says the timing of the San Jose production is deliberate. The performances will begin with a moment of silence.\u003c/p>\n\u003cp>“What we’re trying to show on the anniversary of 9/11 – in this period of so much hatred all over the world, so much desire to go back to nationalistic tendencies – is an example of how beautiful it is to live together and celebrate each other’s goodness, rather than trying to find the bad,” says Belani, who is founder and artistic director of the Bay Area-based South Asian theater company \u003ca href=\"http://enacte.org/mission/\">EnActe Arts\u003c/a>. “Art is only successful if it makes people talk, and it brings up subjects that should be breakfast and dinner table conversations, and asks questions.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Conference Of the Birds : Re-imagined for today's Silicon Valley\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/afZDo3nX2zU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Like Rumi’s poetry or Shakespeare’s plays, Attar’s epic has found new audiences with each successive generation, and \u003cem>Conference\u003c/em> is regularly performed in the U.S. Both in the Persian original and in a variety of English translations, Attar’s phrases are rhymed. But Brook and Carriere created a more accessible narrative from the Sufi work – though it retains the original’s scale, where love, death, longing, and resolve are key elements of the birds’ search for answers.\u003c/p>\n\u003cp>Srinivasan, who directs the organization the Silicon Valley-based, multi-disciplinary performing arts organization \u003ca href=\"http://www.sangamarts.org/\">Sangam Arts\u003c/a>, says too many Bay Area arts events happen in “cultural silos,” where a cultural group presents work before an audience comprised mainly of the same cultural group. Like preaching to the converted, these events become isolated happenings, Srinivasan says.\u003c/p>\n\u003cp>Belani has witnessed this cultural isolation first-hand here in the Bay Area. “The Bay Area is one of the most diverse communities in the United States, and it seemed that people were living together, going to school together, working together, but nobody was really creating art together,” says Belani. “I went to the San Francisco Ethnic Dance Festival once, and there were all these amazing dance companies, and they were dancing one after the other – and nobody was interacting with anyone else. This was Mexican culture. This was Chinese culture. This was Indian culture. There was a gap between each of them.”\u003c/p>\n\u003cp>With their reimagining of \u003cem>Conference\u003c/em>, Belani and Srinivasan are mixing cultures on stage. And they want the audience to be as broad as possible — to reach people, like Brook did, who may never have heard of the work, nor of the great Persian poet behind it.\u003c/p>\n\u003cp>\u003ci>“\u003c/i>The play as we’re doing it is just a very raucous, joyous celebration of what the Bay Area looks like today,” Belani says. “We’re trying to show that we can live as neighbors, go to school as neighbors, but we can also do art together. And the sum total of the art we create is so much more than the one-plus-one, individual art forms.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://enacte.org/production/the-conference-of-the-birds/\">\u003cem>The Conference of the Birds\u003c/em>\u003c/a> runs Friday, Sep. 9 through Sunday, Sep. 11 at Mexican Heritage Plaza in San Jose.\u003c/strong>\u003c/p>\n\n",
"blocks": [],
"excerpt": "With their multi-cultural, dance-focused reimagining of 'The Conference of the Birds,' stage directors Vinita Sud Belani and Usha Srinivasan want to get artists and audiences out of their ethnic siloes.",
"status": "publish",
"parent": 0,
"modified": 1726787451,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 961
},
"headData": {
"title": "Staging of 800-Year-Old Persian Poem Unites Cultures on 9/11 Anniversary | KQED",
"description": "With their multi-cultural, dance-focused reimagining of 'The Conference of the Birds,' stage directors Vinita Sud Belani and Usha Srinivasan want to get artists and audiences out of their ethnic siloes.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Staging of 800-Year-Old Persian Poem Unites Cultures on 9/11 Anniversary",
"datePublished": "2016-09-07T09:56:37-07:00",
"dateModified": "2024-09-19T16:10:51-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "492984381",
"path": "/arts/12027462/staging-of-800-year-old-persian-poem-unites-cultures-on-911-anniversary",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In December of 1972, Helen Mirren and a coterie of other actors openly worried that \u003ca href=\"https://en.wikipedia.org/wiki/Peter_Brook\">Peter Brook\u003c/a> had gone “mad,” and they had a point: The famed British theater director had decided to take the troupe on a 100-day tour across the Sahara Desert and West Africa in four-wheel-drive vehicles so they could perform an interpretation of a 12th-century Persian poem called \u003ca href=\"https://en.wikipedia.org/wiki/The_Conference_of_the_Birds\">\u003cem>The Conference of the Birds\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Nothing like it had ever been attempted. But Brook was committed to staging \u003ca href=\"https://en.wikipedia.org/wiki/Attar_of_Nishapur\">Farid ud-Din Attar\u003c/a>‘s parable about birds who struggle to find a higher truth about the divine and their place in the world.\u003c/p>\n\u003cp>And now Vinita Sud Belani and Usha Srinivasan – directors of two Bay Area arts organizations – are committed to staging Brook’s version of \u003cem>Conference\u003c/em> in San Jose. The show will unfold Friday, Sep. 9 – Sunday, Sep. 11 at the Mexican Heritage Plaza. This time, however, the directors are putting much of the focus on dance, as well as giving many of the birds portrayed in the piece cultural specificity.\u003c/p>\n\u003cfigure id=\"attachment_12027653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12027653 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-800x405.jpg\" width=\"800\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-800x405.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-400x202.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-768x388.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-1180x597.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-1920x971.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-960x485.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Belly dancers (left), an Aztec dancer (center) and hula dancers share the stage in the San Jose production of The Conference of the Birds \u003ccite>(Prabhakar Subrahmanyam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production reads as a veritable avian United Nations. Mexican folkloric dancers represent the herons, Chinese dancers, the phoenix and peacocks, Hawaiian dancers the ducks, and belly dancers the partridges. Dance traditions from India, where Belani and Srinivasan have roots, characterize the parrots and exotic birds, while a Persian dancer plays the Simorgh – a Persian bird of mythical origin that’s a God figure in \u003cem>The Conference of the Birds\u003c/em>.\u003c/p>\n\u003cp>Actors and singers also portray birds, including the hoopoe, which organizes the gathering because it sees the world under such stress. “I see nothing but quarrels, desperate fights for a scrap of territory, wars for a few grains of corn,” the bird bellows in Brook’s version. “This can’t go on.”\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>When Brook staged \u003cem>Conference\u003c/em> in sub-Saharan Africa, the Vietnam War was at a desperate stage, and violent conflicts were fresh in Northern Ireland, Germany, and Burundi. Belani and Srinivasan’s version of the work coincides with the 15th anniversary of the 9/11 terror attacks. Belani, who is close friends with the French co-writer of Brook’s production, \u003ca href=\"https://en.wikipedia.org/wiki/Jean-Claude_Carri%C3%A8re\">Jean-Claude Carriere\u003c/a>, whom she met during her years living in France, says the timing of the San Jose production is deliberate. The performances will begin with a moment of silence.\u003c/p>\n\u003cp>“What we’re trying to show on the anniversary of 9/11 – in this period of so much hatred all over the world, so much desire to go back to nationalistic tendencies – is an example of how beautiful it is to live together and celebrate each other’s goodness, rather than trying to find the bad,” says Belani, who is founder and artistic director of the Bay Area-based South Asian theater company \u003ca href=\"http://enacte.org/mission/\">EnActe Arts\u003c/a>. “Art is only successful if it makes people talk, and it brings up subjects that should be breakfast and dinner table conversations, and asks questions.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Conference Of the Birds : Re-imagined for today's Silicon Valley\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/afZDo3nX2zU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Like Rumi’s poetry or Shakespeare’s plays, Attar’s epic has found new audiences with each successive generation, and \u003cem>Conference\u003c/em> is regularly performed in the U.S. Both in the Persian original and in a variety of English translations, Attar’s phrases are rhymed. But Brook and Carriere created a more accessible narrative from the Sufi work – though it retains the original’s scale, where love, death, longing, and resolve are key elements of the birds’ search for answers.\u003c/p>\n\u003cp>Srinivasan, who directs the organization the Silicon Valley-based, multi-disciplinary performing arts organization \u003ca href=\"http://www.sangamarts.org/\">Sangam Arts\u003c/a>, says too many Bay Area arts events happen in “cultural silos,” where a cultural group presents work before an audience comprised mainly of the same cultural group. Like preaching to the converted, these events become isolated happenings, Srinivasan says.\u003c/p>\n\u003cp>Belani has witnessed this cultural isolation first-hand here in the Bay Area. “The Bay Area is one of the most diverse communities in the United States, and it seemed that people were living together, going to school together, working together, but nobody was really creating art together,” says Belani. “I went to the San Francisco Ethnic Dance Festival once, and there were all these amazing dance companies, and they were dancing one after the other – and nobody was interacting with anyone else. This was Mexican culture. This was Chinese culture. This was Indian culture. There was a gap between each of them.”\u003c/p>\n\u003cp>With their reimagining of \u003cem>Conference\u003c/em>, Belani and Srinivasan are mixing cultures on stage. And they want the audience to be as broad as possible — to reach people, like Brook did, who may never have heard of the work, nor of the great Persian poet behind it.\u003c/p>\n\u003cp>\u003ci>“\u003c/i>The play as we’re doing it is just a very raucous, joyous celebration of what the Bay Area looks like today,” Belani says. “We’re trying to show that we can live as neighbors, go to school as neighbors, but we can also do art together. And the sum total of the art we create is so much more than the one-plus-one, individual art forms.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://enacte.org/production/the-conference-of-the-birds/\">\u003cem>The Conference of the Birds\u003c/em>\u003c/a> runs Friday, Sep. 9 through Sunday, Sep. 11 at Mexican Heritage Plaza in San Jose.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12027462/staging-of-800-year-old-persian-poem-unites-cultures-on-911-anniversary",
"authors": [
"128435"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_966",
"arts_69",
"arts_235"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_12027463",
"label": "arts_140"
},
"arts_12033678": {
"type": "posts",
"id": "arts_12033678",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12033678",
"score": null,
"sort": [
1473208952000
]
},
"guestAuthors": [],
"slug": "ap-exclusive-study-finds-inequality-unchanged-in-hollywood",
"title": "AP EXCLUSIVE: Study Finds Inequality Unchanged in Hollywood",
"publishDate": 1473208952,
"format": "standard",
"headTitle": "AP EXCLUSIVE: Study Finds Inequality Unchanged in Hollywood | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Despite widespread attention over diversity in the movie business, a new study finds that little is changing in Hollywood for women, minorities, LGBT people and others who continue to find themselves on the outside of an industry where researchers say inequality is “the norm.”\u003c/p>\n\u003cp>A report to be released Wednesday by the Media, Diversity and Social Change Initiative at the University of Southern California’s Annenberg School for Communication and Journalism offers a stark portrait of Hollywood’s feeble to nonexistent progress in eradicating what researchers call “pervasive and systematic” problems in inclusiveness in front of and behind the camera.\u003c/p>\n\u003cp>Since 2007, USC has analyzed the demographic makeup of the actors, directors, writers and more from each year’s 100 most popular films. Its latest addition adds data from 2015’s top films, but finds little change.\u003c/p>\n\u003cp>For example, 31.4 percent of speaking characters in the analyzed films were female in 2015 — roughly the same number as in 2007. That’s a ratio of 2.2 men for every single woman.\u003c/p>\n\u003cp>Characters identified as lesbian, gay or transgender accounted for less than 1 percent of all speaking parts, or 32 out of 4,370 characters studied. That was a slight increase from 19 portrayals in 2014. After finding zero transgender characters in 2014, researchers could pinpoint one in 2015.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From 2007 to 2015, the study finds no significant change in the percentage of black (12.2 percent), Latino (5.3 percent) or Asian (3.9 percent) characters in the most popular films.\u003c/p>\n\u003cp>Off screen, of the 107 directors of 2015 films, four were black or African American and six were Asian or Asian American. Just eight were women, still the most since 2008.\u003c/p>\n\u003cp>“We’re seeing entrenched inequality,” Stacy L. Smith, a USC professor and the study’s lead author, said in an interview. “Whether we’re studying gender, race, ethnicity, LGBT or characters with disabilities, we’re really seeing exclusionary forces leaving out anybody that’s not a straight, white, able-bodied man. Despite all the chatter and all the activism and all the press attention, it’s another year where the status quo has been maintained.”\u003c/p>\n\u003cp>USC researchers stressed that the study’s results didn’t just offer a portrait of inequality, but captured the invisibility of many from American popular cinema. Hollywood, the study concludes, is “an epicenter of cultural inequality.”\u003c/p>\n\u003cp>Issues of exclusion and gender gaps have gained more attention in recent years following two straight seasons of all-white acting nominees at the Oscars and leaked studio emails from Sony Pictures that suggested evidence of disparity in salaries between male and female stars.\u003c/p>\n\u003cp>The fallout has led the Academy of Motion Pictures Arts and Sciences to diversity its membership. Some have individually taken action; TV producer Ryan Murphy in February launched a foundation to diversify the directors of his shows. Last month, even Michelle Obama spoke of the importance “for the world to see different images of each other.”\u003c/p>\n\u003cp>But the USC researchers say not enough is being done by the upper echelons of the movie industry. Earlier this year, the researchers scored 10 major media companies on their diversity record across mediums. None passed.\u003c/p>\n\u003cp>“We’ve seen a lot of talk and little action,” says Smith. “What we need now is for companies to take the same leadership position, be transparent in their inclusion goals and be accountable to representing the actual world we live in when it comes to the demography of the U.S.”\u003c/p>\n\u003cp>Many of last year’s most profitable movies, however, boasted diverse casts. The appeal of the “Fast and Furious” franchise, which released its seventh installment in 2015, has long been based on both high-octane races and a much varied cast. The year’s top film, “Star Wars: The Force Awakens,” ushered in more diverse characters to George Lucas’ galaxy. Female empowerment was also a big seller for “Mad Max: Fury Road,” ”The Hunger Games: Mockingjay Part 2″ and “Pitch Perfect 2.”\u003c/p>\n\u003cp>As a result, female lead or co-leads improved by 11 percent from 2014 to 2015, one of the rare signs of improved inclusivity in the study. But even such bright spots revealed other areas still wanting. There were still just three films featuring a female lead or co-lead from an underrepresented racial or ethnic group, and there wasn’t one leading part for an Asian, man or woman.\u003c/p>\n\u003cp>“When we really drill down in the numbers, we see a perpetuation of the same groups getting access to the most visible roles, whether that’s in the director’s chair or on screen, and that continues to be the problem plaguing Hollywood’s hiring practices,” said Smith.\u003c/p>\n\u003cp>Issues over the type of representation also still remain. Though LGBT characters increased in 2015, only two were depicted as parents. “Film still has a way to go when it comes to representing all types of families in America,” said Katherine Pieper, who co-authored the study with Smith and Marc Choueiti.\u003c/p>\n\u003cp>Females also continue to be overwhelmingly more likely to be sexualized. Women are more than three times as likely as men to be shown in sexually revealing clothing or nude.\u003c/p>\n\u003cp>“When there are few women — less than 32 percent of characters are female — and they are more sexualized than their male counterparts, then females are really filling a particular role in film content and sending a particular message to audiences,” said Pieper.\u003c/p>\n\u003cp>The researchers added two new metrics to the study this year. They are now tracking characters with disabilities. They made up just 2.4 percent of all speaking roles in 2015’s top films, even though 18.7 percent of the U.S. population reported having a disability in the 2010 census.\u003c/p>\n\u003cp>To dovetail with an upcoming initiative on women in music, USC researchers also began studying the rate of female composers in film. They found 12 total in the 877 films studied over eight years, and only one in 2015.\u003c/p>\n\u003cp>“When a group clocks in at 1.4 percent,” says Smith, “I think it merits more investigation.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Despite widespread attention over diversity, a new study finds that little is changing in Hollywood",
"status": "publish",
"parent": 0,
"modified": 1726709092,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 26,
"wordCount": 1087
},
"headData": {
"title": "AP EXCLUSIVE: Study Finds Inequality Unchanged in Hollywood | KQED",
"description": "Despite widespread attention over diversity, a new study finds that little is changing in Hollywood",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "AP EXCLUSIVE: Study Finds Inequality Unchanged in Hollywood",
"datePublished": "2016-09-06T17:42:32-07:00",
"dateModified": "2024-09-18T18:24:52-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Jake Coyle, Associated Press",
"nprStoryId": "492897800",
"path": "/arts/12033678/ap-exclusive-study-finds-inequality-unchanged-in-hollywood",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Despite widespread attention over diversity in the movie business, a new study finds that little is changing in Hollywood for women, minorities, LGBT people and others who continue to find themselves on the outside of an industry where researchers say inequality is “the norm.”\u003c/p>\n\u003cp>A report to be released Wednesday by the Media, Diversity and Social Change Initiative at the University of Southern California’s Annenberg School for Communication and Journalism offers a stark portrait of Hollywood’s feeble to nonexistent progress in eradicating what researchers call “pervasive and systematic” problems in inclusiveness in front of and behind the camera.\u003c/p>\n\u003cp>Since 2007, USC has analyzed the demographic makeup of the actors, directors, writers and more from each year’s 100 most popular films. Its latest addition adds data from 2015’s top films, but finds little change.\u003c/p>\n\u003cp>For example, 31.4 percent of speaking characters in the analyzed films were female in 2015 — roughly the same number as in 2007. That’s a ratio of 2.2 men for every single woman.\u003c/p>\n\u003cp>Characters identified as lesbian, gay or transgender accounted for less than 1 percent of all speaking parts, or 32 out of 4,370 characters studied. That was a slight increase from 19 portrayals in 2014. After finding zero transgender characters in 2014, researchers could pinpoint one in 2015.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From 2007 to 2015, the study finds no significant change in the percentage of black (12.2 percent), Latino (5.3 percent) or Asian (3.9 percent) characters in the most popular films.\u003c/p>\n\u003cp>Off screen, of the 107 directors of 2015 films, four were black or African American and six were Asian or Asian American. Just eight were women, still the most since 2008.\u003c/p>\n\u003cp>“We’re seeing entrenched inequality,” Stacy L. Smith, a USC professor and the study’s lead author, said in an interview. “Whether we’re studying gender, race, ethnicity, LGBT or characters with disabilities, we’re really seeing exclusionary forces leaving out anybody that’s not a straight, white, able-bodied man. Despite all the chatter and all the activism and all the press attention, it’s another year where the status quo has been maintained.”\u003c/p>\n\u003cp>USC researchers stressed that the study’s results didn’t just offer a portrait of inequality, but captured the invisibility of many from American popular cinema. Hollywood, the study concludes, is “an epicenter of cultural inequality.”\u003c/p>\n\u003cp>Issues of exclusion and gender gaps have gained more attention in recent years following two straight seasons of all-white acting nominees at the Oscars and leaked studio emails from Sony Pictures that suggested evidence of disparity in salaries between male and female stars.\u003c/p>\n\u003cp>The fallout has led the Academy of Motion Pictures Arts and Sciences to diversity its membership. Some have individually taken action; TV producer Ryan Murphy in February launched a foundation to diversify the directors of his shows. Last month, even Michelle Obama spoke of the importance “for the world to see different images of each other.”\u003c/p>\n\u003cp>But the USC researchers say not enough is being done by the upper echelons of the movie industry. Earlier this year, the researchers scored 10 major media companies on their diversity record across mediums. None passed.\u003c/p>\n\u003cp>“We’ve seen a lot of talk and little action,” says Smith. “What we need now is for companies to take the same leadership position, be transparent in their inclusion goals and be accountable to representing the actual world we live in when it comes to the demography of the U.S.”\u003c/p>\n\u003cp>Many of last year’s most profitable movies, however, boasted diverse casts. The appeal of the “Fast and Furious” franchise, which released its seventh installment in 2015, has long been based on both high-octane races and a much varied cast. The year’s top film, “Star Wars: The Force Awakens,” ushered in more diverse characters to George Lucas’ galaxy. Female empowerment was also a big seller for “Mad Max: Fury Road,” ”The Hunger Games: Mockingjay Part 2″ and “Pitch Perfect 2.”\u003c/p>\n\u003cp>As a result, female lead or co-leads improved by 11 percent from 2014 to 2015, one of the rare signs of improved inclusivity in the study. But even such bright spots revealed other areas still wanting. There were still just three films featuring a female lead or co-lead from an underrepresented racial or ethnic group, and there wasn’t one leading part for an Asian, man or woman.\u003c/p>\n\u003cp>“When we really drill down in the numbers, we see a perpetuation of the same groups getting access to the most visible roles, whether that’s in the director’s chair or on screen, and that continues to be the problem plaguing Hollywood’s hiring practices,” said Smith.\u003c/p>\n\u003cp>Issues over the type of representation also still remain. Though LGBT characters increased in 2015, only two were depicted as parents. “Film still has a way to go when it comes to representing all types of families in America,” said Katherine Pieper, who co-authored the study with Smith and Marc Choueiti.\u003c/p>\n\u003cp>Females also continue to be overwhelmingly more likely to be sexualized. Women are more than three times as likely as men to be shown in sexually revealing clothing or nude.\u003c/p>\n\u003cp>“When there are few women — less than 32 percent of characters are female — and they are more sexualized than their male counterparts, then females are really filling a particular role in film content and sending a particular message to audiences,” said Pieper.\u003c/p>\n\u003cp>The researchers added two new metrics to the study this year. They are now tracking characters with disabilities. They made up just 2.4 percent of all speaking roles in 2015’s top films, even though 18.7 percent of the U.S. population reported having a disability in the 2010 census.\u003c/p>\n\u003cp>To dovetail with an upcoming initiative on women in music, USC researchers also began studying the rate of female composers in film. They found 12 total in the 877 films studied over eight years, and only one in 2015.\u003c/p>\n\u003cp>“When a group clocks in at 1.4 percent,” says Smith, “I think it merits more investigation.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12033678/ap-exclusive-study-finds-inequality-unchanged-in-hollywood",
"authors": [
"byline_arts_12033678"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_596",
"arts_1427"
],
"featImg": "arts_10286283",
"label": "arts"
},
"arts_12033482": {
"type": "posts",
"id": "arts_12033482",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12033482",
"score": null,
"sort": [
1473207955000
]
},
"guestAuthors": [],
"slug": "apple-may-test-iphone-users-loyalty-if-it-dumps-the-headphone-jack",
"title": "Apple May Test iPhone Users' Loyalty if it Dumps the Headphone Jack",
"publishDate": 1473207955,
"format": "standard",
"headTitle": "Apple May Test iPhone Users’ Loyalty if it Dumps the Headphone Jack | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>If you’re like me, somewhere in your house you imagine there must be a pile of lost white iPhone earbuds. The pile is probably right next to the stack of single socks. It’s one of several reasons I never liked wireless Bluetooth headphones. They’re smaller and even easier to lose.\u003c/p>\n\u003cp>But, if \u003ca href=\"http://www.nytimes.com/2016/09/06/technology/will-the-new-iphone-have-a-headphone-jack-rumormongers-say-it-wont.html?_r=0\" target=\"_blank\" rel=\"noopener\">the rumors\u003c/a> are true — and most likely they are — Apple is about to get rid of the headphone jack on its latest smartphone, the iPhone 7, and tip the scales toward wireless Bluetooth headphones. The company has scheduled a press event in San Francisco on Wednesday.\u003c/p>\n\u003cp>“Getting rid of the headphone jack is panic worthy,” says usability expert Joshua Porter of the design firm Rocket Insights. “It’s going to be a hard argument to make.”\u003c/p>\n\u003cp>Porter says like a lot of iPhone users, he personally has several headsets that will immediately become obsolete unless there is a way to connect them to the new iPhone.\u003c/p>\n\u003cp>Apple is likely to make an adapter that lets users plug their earbuds into the lightning jack. But Apple users with headphones aren’t going to like it if they have to drop extra cash on buying a special adapter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Porter thinks Apple could entice them into buying the iPhone 7 with some nice extras in the box like a free adapter. “That would be a really amazing gesture … and would do a lot in terms of goodwill.”\u003c/p>\n\u003cp>Porter isn’t the only usability expert scratching his head over Apple getting rid of the headphone jack. Kara Pernice, a senior vice president at the user experience research firm Nielsen Norman Group, thinks this change could really sit badly even with loyal Apple users.\u003c/p>\n\u003cp>“When it looks to the customer like this change is not benefiting me and only benefiting Apple, that’s when people snap,” she says.\u003c/p>\n\u003cp>Pernice thinks Apple may be getting rid of the headphone jack to make important internal changes to the phone — like longer battery life. “But, most end users don’t think that way,” she says. “Most people don’t understand why the change is happening.”\u003c/p>\n\u003cp>Pernice predicts that a lot of people won’t upgrade if it means spending extra money on adapters and Bluetooth headsets.\u003c/p>\n\u003cp>But Apple does have a track record of phasing out what seem like popular technologies at the time. The company was among the first to get rid of \u003ca href=\"http://www.techrepublic.com/blog/cracking-open/apples-next-generation-macbook-pro-drops-ethernet-optical-drive/\" target=\"_blank\" rel=\"noopener\">CD drives and Ethernet cables\u003c/a>. It nixed its \u003ca href=\"http://www.npr.org/sections/alltechconsidered/2012/09/12/161013923/new-iphone-plug-spells-inconvenience-for-users-change-for-accessory-makers\" target=\"_blank\" rel=\"noopener\">30-pin connector\u003c/a> for the lightning connector. And none of that seems to have hurt the company’s sales.\u003c/p>\n\u003cp>“Apple has a very strong history of doing whatever it wants,” says Julie Ask, an analyst with Forrester Research. “And they typically still do OK. They typically do a pretty good job of telling consumers what they need and what they don’t need and leading the way into the future.”\u003c/p>\n\u003cp>Bluetooth headphones are making headway. In June, sales of Bluetooth headsets brought in more revenue than non-Bluetooth for the first time, \u003ca href=\"https://www.npd.com/wps/portal/npd/us/news/press-releases/2016/bluetooth-capable-headphone-sales-surpass-non-bluetooth-sales/\" target=\"_blank\" rel=\"noopener\">according to NPD\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple has sold over a billion iPhones worldwide. Still, since the death of founder Steve Jobs in 2011, many critics say Apple has lost its edge. A decade ago, Nokia and BlackBerry were the leaders in smartphone technology. Usability expert Pernice says getting rid of the headphone jack “could be the straw that breaks the camel’s back.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Apple+May+Test+iPhone+Users%27+Loyalty+If+It+Dumps+The+Headphone+Jack&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The next iPhone, expected to be unveiled Wednesday, may be missing something familiar: the ubiquitous headphone jack. Usability experts say the change could really sit badly with Apple customers.",
"status": "publish",
"parent": 0,
"modified": 1726771071,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 610
},
"headData": {
"title": "Apple May Test iPhone Users' Loyalty if it Dumps the Headphone Jack | KQED",
"description": "The next iPhone, expected to be unveiled Wednesday, may be missing something familiar: the ubiquitous headphone jack. Usability experts say the change could really sit badly with Apple customers.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Apple May Test iPhone Users' Loyalty if it Dumps the Headphone Jack",
"datePublished": "2016-09-06T17:25:55-07:00",
"dateModified": "2024-09-19T11:37:51-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "Bill Hinton ",
"nprByline": "Laura Sydell",
"nprImageAgency": "Moment Editorial/Getty Images",
"nprStoryId": "492876197",
"nprApiLink": "http://api.npr.org/query?id=492876197&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/alltechconsidered/2016/09/06/492876197/apple-may-test-iphone-users-loyalty-if-it-dumps-the-headphone-jack?ft=nprml&f=492876197",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 06 Sep 2016 19:14:00 -0400",
"nprStoryDate": "Tue, 06 Sep 2016 18:41:00 -0400",
"nprLastModifiedDate": "Tue, 06 Sep 2016 19:14:52 -0400",
"path": "/arts/12033482/apple-may-test-iphone-users-loyalty-if-it-dumps-the-headphone-jack",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re like me, somewhere in your house you imagine there must be a pile of lost white iPhone earbuds. The pile is probably right next to the stack of single socks. It’s one of several reasons I never liked wireless Bluetooth headphones. They’re smaller and even easier to lose.\u003c/p>\n\u003cp>But, if \u003ca href=\"http://www.nytimes.com/2016/09/06/technology/will-the-new-iphone-have-a-headphone-jack-rumormongers-say-it-wont.html?_r=0\" target=\"_blank\" rel=\"noopener\">the rumors\u003c/a> are true — and most likely they are — Apple is about to get rid of the headphone jack on its latest smartphone, the iPhone 7, and tip the scales toward wireless Bluetooth headphones. The company has scheduled a press event in San Francisco on Wednesday.\u003c/p>\n\u003cp>“Getting rid of the headphone jack is panic worthy,” says usability expert Joshua Porter of the design firm Rocket Insights. “It’s going to be a hard argument to make.”\u003c/p>\n\u003cp>Porter says like a lot of iPhone users, he personally has several headsets that will immediately become obsolete unless there is a way to connect them to the new iPhone.\u003c/p>\n\u003cp>Apple is likely to make an adapter that lets users plug their earbuds into the lightning jack. But Apple users with headphones aren’t going to like it if they have to drop extra cash on buying a special adapter.\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>Porter thinks Apple could entice them into buying the iPhone 7 with some nice extras in the box like a free adapter. “That would be a really amazing gesture … and would do a lot in terms of goodwill.”\u003c/p>\n\u003cp>Porter isn’t the only usability expert scratching his head over Apple getting rid of the headphone jack. Kara Pernice, a senior vice president at the user experience research firm Nielsen Norman Group, thinks this change could really sit badly even with loyal Apple users.\u003c/p>\n\u003cp>“When it looks to the customer like this change is not benefiting me and only benefiting Apple, that’s when people snap,” she says.\u003c/p>\n\u003cp>Pernice thinks Apple may be getting rid of the headphone jack to make important internal changes to the phone — like longer battery life. “But, most end users don’t think that way,” she says. “Most people don’t understand why the change is happening.”\u003c/p>\n\u003cp>Pernice predicts that a lot of people won’t upgrade if it means spending extra money on adapters and Bluetooth headsets.\u003c/p>\n\u003cp>But Apple does have a track record of phasing out what seem like popular technologies at the time. The company was among the first to get rid of \u003ca href=\"http://www.techrepublic.com/blog/cracking-open/apples-next-generation-macbook-pro-drops-ethernet-optical-drive/\" target=\"_blank\" rel=\"noopener\">CD drives and Ethernet cables\u003c/a>. It nixed its \u003ca href=\"http://www.npr.org/sections/alltechconsidered/2012/09/12/161013923/new-iphone-plug-spells-inconvenience-for-users-change-for-accessory-makers\" target=\"_blank\" rel=\"noopener\">30-pin connector\u003c/a> for the lightning connector. And none of that seems to have hurt the company’s sales.\u003c/p>\n\u003cp>“Apple has a very strong history of doing whatever it wants,” says Julie Ask, an analyst with Forrester Research. “And they typically still do OK. They typically do a pretty good job of telling consumers what they need and what they don’t need and leading the way into the future.”\u003c/p>\n\u003cp>Bluetooth headphones are making headway. In June, sales of Bluetooth headsets brought in more revenue than non-Bluetooth for the first time, \u003ca href=\"https://www.npd.com/wps/portal/npd/us/news/press-releases/2016/bluetooth-capable-headphone-sales-surpass-non-bluetooth-sales/\" target=\"_blank\" rel=\"noopener\">according to NPD\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple has sold over a billion iPhones worldwide. Still, since the death of founder Steve Jobs in 2011, many critics say Apple has lost its edge. A decade ago, Nokia and BlackBerry were the leaders in smartphone technology. Usability expert Pernice says getting rid of the headphone jack “could be the straw that breaks the camel’s back.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Apple+May+Test+iPhone+Users%27+Loyalty+If+It+Dumps+The+Headphone+Jack&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12033482/apple-may-test-iphone-users-loyalty-if-it-dumps-the-headphone-jack",
"authors": [
"byline_arts_12033482"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596",
"arts_1427"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12033483",
"label": "arts_137"
},
"arts_12033282": {
"type": "posts",
"id": "arts_12033282",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12033282",
"score": null,
"sort": [
1473202382000
]
},
"guestAuthors": [],
"slug": "prosecutors-want-13-other-women-to-testify-against-cosby",
"title": "Prosecutors Want 13 Other Women to Testify Against Cosby",
"publishDate": 1473202382,
"format": "standard",
"headTitle": "Prosecutors Want 13 Other Women to Testify Against Cosby | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Prosecutors hoping to paint actor Bill Cosby as a serial predator at his upcoming sexual assault trial sought Tuesday to put on testimony from 13 other women who say Cosby gave them quaaludes, other drugs or alcohol before molesting them.\u003c/p>\n\u003cp>The criminal case against the 79-year-old entertainer involves a single 2004 encounter at his home near Philadelphia with former Temple University employee Andrea Constand. The presiding judge at a hearing Tuesday vowed to start the trial by June 5.\u003c/p>\n\u003cp>However, Montgomery County Judge Steven O’Neill did not immediately rule on any of the pretrial disputes over evidence, including the prosecution effort to call other women as witnesses. Under Pennsylvania law, they could be allowed to testify to show an alleged pattern of behavior, even if no charges were ever filed.\u003c/p>\n\u003cp>Prosecutors said they reviewed accusations made by 50 Cosby accusers and concluded that 13 said they were also drugged or intoxicated and then molested by Cosby. One woman said she declined his offer of quaaludes but accepted Champagne that she believed was spiked. She later woke up naked in a hotel room and said she had been sexually assaulted. Another said she took quaaludes from him, while a third said she believed her drink was spiked with the powerful, now-banned sedative.\u003c/p>\n\u003cp>The defense is expected to oppose any testimony from other accusers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The defense will also ask to have the trial moved to another county, given that the decision over whether Cosby should be arrested became a flashpoint in last fall’s election for district attorney. Cosby was arrested on Dec. 30, as incoming prosecutor Kevin Steele eyed the approaching 12-year deadline to file felony charges.\u003c/p>\n\u003cp>Constand told police that Cosby gave her three unmarked pills and then molested her as she drifted in and out of consciousness.\u003c/p>\n\u003cp>Cosby’s lawyers meanwhile asked the judge Tuesday to suppress a 2005 telephone conversation recorded by Constand’s mother in Toronto. Cosby had called her from California. The defense said the call violated Pennsylvania’s two-party consent law on wiretaps. But prosecutors who played the tape in court argued that Cosby said he heard beeps on the call and asked if he was being taped. Gianna Constand denied it.\u003c/p>\n\u003cp>Cosby in the conversation described the sex act as “digital penetration” but refused to say what pills he had given her daughter. In his deposition, he later said he feared sounding like “a dirty old man” on the call.\u003c/p>\n\u003cp>Steele will fight to use both the phone call and Cosby’s potentially damaging deposition from Constand’s sexual battery lawsuit. Cosby settled the suit after four days of questioning. He acknowledged having a sexual encounter with Constand, but said it was consensual. He also admitted to a string of extramarital affairs and sexual “rendezvous,” some with women in their late teens and early 20s.\u003c/p>\n\u003cp>Cosby was arrested in December after the investigation into the allegation Constand first brought in 2005 was reopened, following disclosure of the entertainer’s deposition and a stream of new allegations by women going back decades.\u003c/p>\n\u003cp>Cosby looked noticeably healthier Tuesday than he has at earlier hearings, although his lawyers told the judge that he is blind. O’Neill offered whatever accommodations he might need at trial, but the defense didn’t immediately ask for any.\u003c/p>\n\u003cp>Cosby clutched an aide’s arm as he walked, but his eyes appeared less milky and he seemed more engaged and animated as he spoke with his legal team.\u003c/p>\n\u003cp>As O’Neill pushed for a trial date, lead defense lawyer Brian McMonagle of Philadelphia said he has other trials booked until June.\u003c/p>\n\u003cp>Cosby has replaced one top-tier Los Angeles law firm with another on his defense team, the second such switch in about a year.\u003c/p>\n\u003cp>Cosby has so far lost his efforts to have the charges thrown out.\u003c/p>\n\u003cp>Cosby became known as “America’s Dad” for his top-rated show on family life that ran from 1984 to 1992. He had been in the limelight since the early 1960s, when the Philadelphian was tapped to star in “I Spy,” becoming the rare black actor to star in a network TV show at the time.\u003c/p>\n\u003cp>The women who accuse him of sexual misconduct for nearly that long say the charges were a long time coming.\u003c/p>\n\u003cp>Cosby’s defenders instead suggest he is a wealthy target for the many women he met during five decades as an A-list celebrity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
"blocks": [],
"excerpt": "Prosecutors said that 13 accusers said they were also drugged or intoxicated and then molested by Cosby",
"status": "publish",
"parent": 0,
"modified": 1726709096,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 776
},
"headData": {
"title": "Prosecutors Want 13 Other Women to Testify Against Cosby | KQED",
"description": "Prosecutors said that 13 accusers said they were also drugged or intoxicated and then molested by Cosby",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Prosecutors Want 13 Other Women to Testify Against Cosby",
"datePublished": "2016-09-06T15:53:02-07:00",
"dateModified": "2024-09-18T18:24:56-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Maryclaire Dale & Michael R. Sisak, Associated Press",
"nprStoryId": "492887735",
"path": "/arts/12033282/prosecutors-want-13-other-women-to-testify-against-cosby",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prosecutors hoping to paint actor Bill Cosby as a serial predator at his upcoming sexual assault trial sought Tuesday to put on testimony from 13 other women who say Cosby gave them quaaludes, other drugs or alcohol before molesting them.\u003c/p>\n\u003cp>The criminal case against the 79-year-old entertainer involves a single 2004 encounter at his home near Philadelphia with former Temple University employee Andrea Constand. The presiding judge at a hearing Tuesday vowed to start the trial by June 5.\u003c/p>\n\u003cp>However, Montgomery County Judge Steven O’Neill did not immediately rule on any of the pretrial disputes over evidence, including the prosecution effort to call other women as witnesses. Under Pennsylvania law, they could be allowed to testify to show an alleged pattern of behavior, even if no charges were ever filed.\u003c/p>\n\u003cp>Prosecutors said they reviewed accusations made by 50 Cosby accusers and concluded that 13 said they were also drugged or intoxicated and then molested by Cosby. One woman said she declined his offer of quaaludes but accepted Champagne that she believed was spiked. She later woke up naked in a hotel room and said she had been sexually assaulted. Another said she took quaaludes from him, while a third said she believed her drink was spiked with the powerful, now-banned sedative.\u003c/p>\n\u003cp>The defense is expected to oppose any testimony from other accusers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The defense will also ask to have the trial moved to another county, given that the decision over whether Cosby should be arrested became a flashpoint in last fall’s election for district attorney. Cosby was arrested on Dec. 30, as incoming prosecutor Kevin Steele eyed the approaching 12-year deadline to file felony charges.\u003c/p>\n\u003cp>Constand told police that Cosby gave her three unmarked pills and then molested her as she drifted in and out of consciousness.\u003c/p>\n\u003cp>Cosby’s lawyers meanwhile asked the judge Tuesday to suppress a 2005 telephone conversation recorded by Constand’s mother in Toronto. Cosby had called her from California. The defense said the call violated Pennsylvania’s two-party consent law on wiretaps. But prosecutors who played the tape in court argued that Cosby said he heard beeps on the call and asked if he was being taped. Gianna Constand denied it.\u003c/p>\n\u003cp>Cosby in the conversation described the sex act as “digital penetration” but refused to say what pills he had given her daughter. In his deposition, he later said he feared sounding like “a dirty old man” on the call.\u003c/p>\n\u003cp>Steele will fight to use both the phone call and Cosby’s potentially damaging deposition from Constand’s sexual battery lawsuit. Cosby settled the suit after four days of questioning. He acknowledged having a sexual encounter with Constand, but said it was consensual. He also admitted to a string of extramarital affairs and sexual “rendezvous,” some with women in their late teens and early 20s.\u003c/p>\n\u003cp>Cosby was arrested in December after the investigation into the allegation Constand first brought in 2005 was reopened, following disclosure of the entertainer’s deposition and a stream of new allegations by women going back decades.\u003c/p>\n\u003cp>Cosby looked noticeably healthier Tuesday than he has at earlier hearings, although his lawyers told the judge that he is blind. O’Neill offered whatever accommodations he might need at trial, but the defense didn’t immediately ask for any.\u003c/p>\n\u003cp>Cosby clutched an aide’s arm as he walked, but his eyes appeared less milky and he seemed more engaged and animated as he spoke with his legal team.\u003c/p>\n\u003cp>As O’Neill pushed for a trial date, lead defense lawyer Brian McMonagle of Philadelphia said he has other trials booked until June.\u003c/p>\n\u003cp>Cosby has replaced one top-tier Los Angeles law firm with another on his defense team, the second such switch in about a year.\u003c/p>\n\u003cp>Cosby has so far lost his efforts to have the charges thrown out.\u003c/p>\n\u003cp>Cosby became known as “America’s Dad” for his top-rated show on family life that ran from 1984 to 1992. He had been in the limelight since the early 1960s, when the Philadelphian was tapped to star in “I Spy,” becoming the rare black actor to star in a network TV show at the time.\u003c/p>\n\u003cp>The women who accuse him of sexual misconduct for nearly that long say the charges were a long time coming.\u003c/p>\n\u003cp>Cosby’s defenders instead suggest he is a wealthy target for the many women he met during five decades as an A-list celebrity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12033282/prosecutors-want-13-other-women-to-testify-against-cosby",
"authors": [
"byline_arts_12033282"
],
"categories": [
"arts_968",
"arts_74",
"arts_235",
"arts_990"
],
"tags": [
"arts_596",
"arts_1427"
],
"featImg": "arts_11610205",
"label": "arts"
},
"arts_12032680": {
"type": "posts",
"id": "arts_12032680",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12032680",
"score": null,
"sort": [
1473199241000
]
},
"guestAuthors": [],
"slug": "noise-complaint-sparks-demonstration-of-street-music-oakland-culture",
"title": "Noise Complaint Sparks Demonstration of Street Music, Oakland Culture",
"publishDate": 1473199241,
"format": "standard",
"headTitle": "Noise Complaint Sparks Demonstration of Street Music, Oakland Culture | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It’s Saturday and \u003ca href=\"https://www.facebook.com/drummerboyaaron\" target=\"_blank\" rel=\"noopener\">Aaron Davis \u003c/a>has just set up his drum kit, with help from his grandfather, near Lake Merritt, by the 580 freeway, across the street from the busy Grand Lake Farmer’s Market.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/281682147″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Davis, 18 years old, comes here to Eastshore Park most weekends to practice his drumming, sometimes making a few hundred dollars in tips. But in late August, Davis says, a young, white woman who lives across the street came up to him as he played, and complained about the noise.\u003c/p>\n\u003cp>“She decided to hold her hands on my cymbals like that,” he says pretending to lean on the cymbals, “knocking this one over.”\u003c/p>\n\u003cp>The cymbal, worth $279, got pretty dinged up. “And I was getting fired up to like I was ready to hit her. But then I was like, if I did, things would have been much worse. So I was just like take a deep breath. Whooo. Okay.”\u003c/p>\n\u003cfigure id=\"attachment_12032880\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/007-800x495.jpg\" alt=\"A homeless man sleeps a few feet away from Aaron Davis and his fellow drummers on Saturday near Lake Merritt\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homeless man sleeps a few feet away from Aaron Davis and his fellow drummers on Saturday near Lake Merritt \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area can be a tough place for musicians, with its high rents and \u003ca href=\"https://ww2.kqed.org/news/2015/10/26/so-well-spoken-race-and-space/\" target=\"_blank\" rel=\"noopener\">noise complaints like those last year about music in Oakland.\u003c/a> Police cited Latino and African-American members of a drumming group at Lake Merritt after a complaint from a white man, and newcomers complained to police about loud singing and praying at a church in rapidly gentrifying West Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The woman with the complaint about Davis’ drumming called Oakland Police, but Davis had long since checked with officers, and they had told him that as long as he wasn’t amplifying his sound, he wasn’t breaking any laws in what is a very noisy neighborhood. Police often wave to Davis, he said, as they drive by in their patrol cars.\u003c/p>\n\u003cp>So nothing happened. Except \u003ca href=\"https://www.facebook.com/tram.q.nguyen?hc_ref=SEARCH\" target=\"_blank\" rel=\"noopener\">a fan wrote a Facebook post\u003c/a> about Davis’ encounter, and it got reposted a lot. #DrummerBoyAaron became the hero of a story about how newcomers to the city should be more respectful of Oakland’s culture.\u003c/p>\n\u003cfigure id=\"attachment_12032687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032687\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-800x495.jpg\" alt=\"Aaron Davis at his drum kit at Eastshore Park with members of the drum corps Loco Bloco behind him\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Davis at his drum kit at Eastshore Park with members of the drum corps Loco Bloco behind him \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So this past Saturday, it wasn’t just Davis out there. More than a dozen other drummers from around the Bay Area joined him, plus someone on cowbells and kids with rattles. The drum corps \u003ca href=\"https://www.facebook.com/locobloco/\" target=\"_blank\" rel=\"noopener\">Loco Bloco\u003c/a> from San Francisco was there. “He’s a young kid out here drumming, and getting harassed by neighbors,” said drum instructor Anttwan Stanberry. “I think that’s not right, and we need to show more support for the arts.”\u003c/p>\n\u003cp>The crowd swelled also with Oakland residents like Dolores Payne. “I’m here because he’s a young black male,” Payne said as she sat in a lawn chair and nibbled on a hot dog, “and there’s not too much support for them out there. So we the people have to do it.”\u003c/p>\n\u003cfigure id=\"attachment_12032824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032824\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/006-800x600.jpg\" alt=\"One of many kids who drummed along with Aaron Davis near Lake Merritt on Saturday\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of many kids who drummed along with Aaron Davis near Lake Merritt on Saturday \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emma Batten Bowman, one of Davis’ teachers from \u003ca href=\"http://www.ousd.org/rudsdale\" target=\"_blank\" rel=\"noopener\">Rudsdale High School in East Oakland\u003c/a> came too. “I was proud of him,” she said referring to how Davis kept his cool when the woman knocked over his cymbals.\u003c/p>\n\u003cp>Bowman, who is white, said she’s a fourth-generation Oaklander, and “why would we not support a young black student that’s here drumming and spending his time so positively.\u003c/p>\n\u003cp>“And in light of all the police brutality and violence perpetrated against black men,” Bowman said. “It seems unconscionable that someone would purposely call the cops on a young black man, with what could happen.”\u003c/p>\n\u003cfigure id=\"attachment_12032689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032689\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/003-800x568.jpg\" alt=\"Signs of support for #DrummerBoyAaron on Saturday\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-400x284.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-1180x838.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-1920x1364.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-960x682.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Signs of support for #DrummerBoyAaron on Saturday \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile Davis, wearing a baseball cap tilted sideways, was playing his usual round of R&B, hip-hop and fusion, with help from the other musicians.\u003c/p>\n\u003cp>“I feel so blessed,” he shouted to the crowd after one jam. “Thank you all for coming out. Oh my God.”\u003c/p>\n\u003cp>There was no sign of the woman who had complained about the noise.\u003c/p>\n\u003cp>Sunday morning, Davis was playing drums at his East Oakland church, \u003ca href=\"http://www.genesiswc.com/\" target=\"_blank\" rel=\"noopener\">Genesis Worship Center,\u003c/a> as usual.\u003c/p>\n\u003cp>“It was a blast yesterday,” he said. “And I want to thank God, for so much support.”\u003c/p>\n\u003cp>Church Elder Isaac Frederick had heard about Davis and the Grand Lake neighbor. “Individuals that are coming here,” he said, “may not know the full culture behind Oakland and the richness that is behind our city.”\u003c/p>\n\u003cfigure id=\"attachment_12032882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032882\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/008-800x495.jpg\" alt=\"Aaron Davis sets up to play at services Sunday morning at Genesis Worship Center in East Oakland\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Davis sets up to play at services Sunday morning at Genesis Worship Center in East Oakland \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davis said he made more than a $1,000 in tips on Saturday. He spent the money that same afternoon replacing the broken cymbal, and buying two new ones for the drum kit at Genesis.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The lesson of the experience for him, said Davis, was how Bay Area musicians and Oaklanders came together to celebrate its culture, and how loving everyone was. “It doesn’t matter what skin color you are,” Davis said. “You guys are all my brothers and sisters.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "A young black drummer shows how Oaklanders can come together to protect their culture and youth.",
"status": "publish",
"parent": 0,
"modified": 1726787455,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 23,
"wordCount": 967
},
"headData": {
"title": "Noise Complaint Sparks Demonstration of Street Music, Oakland Culture | KQED",
"description": "A young black drummer shows how Oaklanders can come together to protect their culture and youth.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Noise Complaint Sparks Demonstration of Street Music, Oakland Culture",
"datePublished": "2016-09-06T15:00:41-07:00",
"dateModified": "2024-09-19T16:10:55-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12032680/noise-complaint-sparks-demonstration-of-street-music-oakland-culture",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s Saturday and \u003ca href=\"https://www.facebook.com/drummerboyaaron\" target=\"_blank\" rel=\"noopener\">Aaron Davis \u003c/a>has just set up his drum kit, with help from his grandfather, near Lake Merritt, by the 580 freeway, across the street from the busy Grand Lake Farmer’s Market.\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/281682147″&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/281682147″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Davis, 18 years old, comes here to Eastshore Park most weekends to practice his drumming, sometimes making a few hundred dollars in tips. But in late August, Davis says, a young, white woman who lives across the street came up to him as he played, and complained about the noise.\u003c/p>\n\u003cp>“She decided to hold her hands on my cymbals like that,” he says pretending to lean on the cymbals, “knocking this one over.”\u003c/p>\n\u003cp>The cymbal, worth $279, got pretty dinged up. “And I was getting fired up to like I was ready to hit her. But then I was like, if I did, things would have been much worse. So I was just like take a deep breath. Whooo. Okay.”\u003c/p>\n\u003cfigure id=\"attachment_12032880\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/007-800x495.jpg\" alt=\"A homeless man sleeps a few feet away from Aaron Davis and his fellow drummers on Saturday near Lake Merritt\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/007-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homeless man sleeps a few feet away from Aaron Davis and his fellow drummers on Saturday near Lake Merritt \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area can be a tough place for musicians, with its high rents and \u003ca href=\"https://ww2.kqed.org/news/2015/10/26/so-well-spoken-race-and-space/\" target=\"_blank\" rel=\"noopener\">noise complaints like those last year about music in Oakland.\u003c/a> Police cited Latino and African-American members of a drumming group at Lake Merritt after a complaint from a white man, and newcomers complained to police about loud singing and praying at a church in rapidly gentrifying West Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The woman with the complaint about Davis’ drumming called Oakland Police, but Davis had long since checked with officers, and they had told him that as long as he wasn’t amplifying his sound, he wasn’t breaking any laws in what is a very noisy neighborhood. Police often wave to Davis, he said, as they drive by in their patrol cars.\u003c/p>\n\u003cp>So nothing happened. Except \u003ca href=\"https://www.facebook.com/tram.q.nguyen?hc_ref=SEARCH\" target=\"_blank\" rel=\"noopener\">a fan wrote a Facebook post\u003c/a> about Davis’ encounter, and it got reposted a lot. #DrummerBoyAaron became the hero of a story about how newcomers to the city should be more respectful of Oakland’s culture.\u003c/p>\n\u003cfigure id=\"attachment_12032687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032687\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-800x495.jpg\" alt=\"Aaron Davis at his drum kit at Eastshore Park with members of the drum corps Loco Bloco behind him\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Aaron-Davis-002-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Davis at his drum kit at Eastshore Park with members of the drum corps Loco Bloco behind him \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So this past Saturday, it wasn’t just Davis out there. More than a dozen other drummers from around the Bay Area joined him, plus someone on cowbells and kids with rattles. The drum corps \u003ca href=\"https://www.facebook.com/locobloco/\" target=\"_blank\" rel=\"noopener\">Loco Bloco\u003c/a> from San Francisco was there. “He’s a young kid out here drumming, and getting harassed by neighbors,” said drum instructor Anttwan Stanberry. “I think that’s not right, and we need to show more support for the arts.”\u003c/p>\n\u003cp>The crowd swelled also with Oakland residents like Dolores Payne. “I’m here because he’s a young black male,” Payne said as she sat in a lawn chair and nibbled on a hot dog, “and there’s not too much support for them out there. So we the people have to do it.”\u003c/p>\n\u003cfigure id=\"attachment_12032824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032824\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/006-800x600.jpg\" alt=\"One of many kids who drummed along with Aaron Davis near Lake Merritt on Saturday\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/006-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of many kids who drummed along with Aaron Davis near Lake Merritt on Saturday \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emma Batten Bowman, one of Davis’ teachers from \u003ca href=\"http://www.ousd.org/rudsdale\" target=\"_blank\" rel=\"noopener\">Rudsdale High School in East Oakland\u003c/a> came too. “I was proud of him,” she said referring to how Davis kept his cool when the woman knocked over his cymbals.\u003c/p>\n\u003cp>Bowman, who is white, said she’s a fourth-generation Oaklander, and “why would we not support a young black student that’s here drumming and spending his time so positively.\u003c/p>\n\u003cp>“And in light of all the police brutality and violence perpetrated against black men,” Bowman said. “It seems unconscionable that someone would purposely call the cops on a young black man, with what could happen.”\u003c/p>\n\u003cfigure id=\"attachment_12032689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032689\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/003-800x568.jpg\" alt=\"Signs of support for #DrummerBoyAaron on Saturday\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-400x284.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-1180x838.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-1920x1364.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/003-960x682.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Signs of support for #DrummerBoyAaron on Saturday \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile Davis, wearing a baseball cap tilted sideways, was playing his usual round of R&B, hip-hop and fusion, with help from the other musicians.\u003c/p>\n\u003cp>“I feel so blessed,” he shouted to the crowd after one jam. “Thank you all for coming out. Oh my God.”\u003c/p>\n\u003cp>There was no sign of the woman who had complained about the noise.\u003c/p>\n\u003cp>Sunday morning, Davis was playing drums at his East Oakland church, \u003ca href=\"http://www.genesiswc.com/\" target=\"_blank\" rel=\"noopener\">Genesis Worship Center,\u003c/a> as usual.\u003c/p>\n\u003cp>“It was a blast yesterday,” he said. “And I want to thank God, for so much support.”\u003c/p>\n\u003cp>Church Elder Isaac Frederick had heard about Davis and the Grand Lake neighbor. “Individuals that are coming here,” he said, “may not know the full culture behind Oakland and the richness that is behind our city.”\u003c/p>\n\u003cfigure id=\"attachment_12032882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12032882\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/008-800x495.jpg\" alt=\"Aaron Davis sets up to play at services Sunday morning at Genesis Worship Center in East Oakland\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/008-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Davis sets up to play at services Sunday morning at Genesis Worship Center in East Oakland \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Davis said he made more than a $1,000 in tips on Saturday. He spent the money that same afternoon replacing the broken cymbal, and buying two new ones for the drum kit at Genesis.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The lesson of the experience for him, said Davis, was how Bay Area musicians and Oaklanders came together to celebrate its culture, and how loving everyone was. “It doesn’t matter what skin color you are,” Davis said. “You guys are all my brothers and sisters.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12032680/noise-complaint-sparks-demonstration-of-street-music-oakland-culture",
"authors": [
"32"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_12032690",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=news": {
"isFetching": false,
"latestQuery": {
"from": 2724,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3720,
"relation": "eq"
},
"items": [
"arts_12041924",
"news_11081142",
"arts_12037700",
"arts_12041518",
"arts_12036897",
"forum_2010101856577",
"arts_12038287",
"arts_12027462",
"arts_12033678",
"arts_12033482",
"arts_12033282",
"arts_12032680"
],
"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"
},
"source_news_11081142": {
"type": "terms",
"id": "source_news_11081142",
"meta": {
"override": true
},
"name": "NPR",
"link": "http://www.npr.org/",
"isLoading": false
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_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_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_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_1007": {
"type": "terms",
"id": "arts_1007",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1007",
"found": true
},
"relationships": {},
"featImg": null,
"name": "video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1024,
"slug": "video",
"isLoading": false,
"link": "/arts/tag/video"
},
"news_6944": {
"type": "terms",
"id": "news_6944",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "6944",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/News-Fix-Logo-Web-Banners-04.png",
"name": "News Fix",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "The News Fix is a daily news podcast from KQED that breaks down the latest headlines and provides in-depth analysis of the stories that matter to the Bay Area.",
"title": "News Fix - Daily Dose of Bay Area News | KQED",
"ogDescription": null
},
"ttid": 6968,
"slug": "news-fix",
"isLoading": false,
"link": "/news/program/news-fix"
},
"news_72": {
"type": "terms",
"id": "news_72",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "72",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/TCR-2-Logo-Web-Banners-03.png",
"name": "The California Report",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The California Report Archives | KQED News",
"ogDescription": null
},
"ttid": 6969,
"slug": "the-california-report",
"isLoading": false,
"link": "/news/program/the-california-report"
},
"news_8": {
"type": "terms",
"id": "news_8",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "8",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED News",
"ogDescription": null
},
"ttid": 8,
"slug": "news",
"isLoading": false,
"link": "/news/category/news"
},
"news_249": {
"type": "terms",
"id": "news_249",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "249",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Facebook",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Facebook Archives | KQED News",
"ogDescription": null
},
"ttid": 257,
"slug": "facebook",
"isLoading": false,
"link": "/news/tag/facebook"
},
"news_205": {
"type": "terms",
"id": "news_205",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "205",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Media",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Media Archives | KQED News",
"ogDescription": null
},
"ttid": 213,
"slug": "media",
"isLoading": false,
"link": "/news/tag/media"
},
"news_17286": {
"type": "terms",
"id": "news_17286",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17286",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tcr",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tcr Archives | KQED News",
"ogDescription": null
},
"ttid": 17318,
"slug": "tcr",
"isLoading": false,
"link": "/news/tag/tcr"
},
"news_253": {
"type": "terms",
"id": "news_253",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "253",
"found": true
},
"relationships": {},
"featImg": null,
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "KQED is the NPR station for the Bay Area, providing award-winning news, programming, and community engagement.",
"title": "NPR Archives - Get the Latest News and Reports from California | KQED",
"ogDescription": null
},
"ttid": 7083,
"slug": "npr",
"isLoading": false,
"link": "/news/affiliate/npr"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_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_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_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_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_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"
},
"forum_3": {
"type": "terms",
"id": "forum_3",
"meta": {
"index": "terms_1716263798",
"site": "forum",
"id": "3",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Forum",
"description": "\u003cp>\u003cem>Forum\u003c/em> finds the most interesting stories about where we live and who we are, and charts where our region and world are headed. Hosts Mina Kim and Alexis Madrigal invite communities in the Bay Area and California to engage in meaningful conversation in a two-hour live show that informs and challenges listeners with big ideas and different viewpoints.\u003c/p>\r\n\u003cp>At 9 a.m., Alexis gives the mic to the Bay Area, from San Rafael to San Jose, and at 10 a.m. with Mina, the perspective widens to all of California.Want to call/submit your comments during our live \u003cem>Forum\u003c/em> program Mon-Fri, 9am-11am? We'd love to hear from you! Please dial 866.SF.FORUM or \u003cstrong>(866) 733-6786\u003c/strong>, email \u003ca href=\"mailto:forum@kqed.org\" target=\"_blank\" rel=\"noreferrer noopener\">forum@kqed.org\u003c/a>, \u003ca href=\"https://twitter.com/search?q=%40kqedforum\" target=\"_blank\" rel=\"noreferrer noopener\">tweet\u003c/a>, or post on \u003ca href=\"https://www.facebook.com/KQEDForum/\" target=\"_blank\" rel=\"noreferrer noopener\">Facebook\u003c/a>.\u003c/p>",
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Forum finds the most interesting stories about where we live and who we are, and charts where our region and world are headed. Hosts Mina Kim and Alexis Madrigal invite communities in the Bay Area and California to engage in meaningful conversation in a two-hour live show that informs and challenges listeners with big ideas and different viewpoints. At 9 a.m., Alexis gives the mic to the Bay Area, from San Rafael to San Jose, and at 10 a.m. with Mina, the perspective widens to all of California.Want to call/submit your comments during our live Forum program Mon-Fri, 9am-11am? We'd love to hear from you! Please dial 866.SF.FORUM or (866) 733-6786, email forum@kqed.org, tweet, or post on Facebook.",
"title": "Forum Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3,
"slug": "forum",
"isLoading": false,
"link": "/forum/program/forum"
},
"forum_1623": {
"type": "terms",
"id": "forum_1623",
"meta": {
"index": "terms_1716263798",
"site": "forum",
"id": "1623",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Podcast",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Podcast Archives - KQED Forum",
"ogDescription": null
},
"ttid": 1623,
"slug": "podcast",
"isLoading": false,
"link": "/forum/category/podcast"
},
"forum_32": {
"type": "terms",
"id": "forum_32",
"meta": {
"index": "terms_1716263798",
"site": "forum",
"id": "32",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts: Music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts: Music Archives | KQED Forum",
"ogDescription": null
},
"ttid": 32,
"slug": "arts-music",
"isLoading": false,
"link": "/forum/tag/arts-music"
},
"forum_295": {
"type": "terms",
"id": "forum_295",
"meta": {
"index": "terms_1716263798",
"site": "forum",
"id": "295",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Joan Baez",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Joan Baez Archives | KQED Forum",
"ogDescription": null
},
"ttid": 295,
"slug": "joan-baez",
"isLoading": false,
"link": "/forum/tag/joan-baez"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_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_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_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_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"
}
},
"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
}
}
