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_12053987": {
"type": "attachments",
"id": "arts_12053987",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12053987",
"found": true
},
"parent": 12053920,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/RS21108_IMG_3209-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/RS21108_IMG_3209-qut-400x226.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 226
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/RS21108_IMG_3209-qut-960x542.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 542
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/RS21108_IMG_3209-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/RS21108_IMG_3209-qut.jpg",
"width": 1920,
"height": 1083
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/RS21108_IMG_3209-qut-1180x666.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 666
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/RS21108_IMG_3209-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/RS21108_IMG_3209-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/RS21108_IMG_3209-qut-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/RS21108_IMG_3209-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/RS21108_IMG_3209-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/RS21108_IMG_3209-qut-1920x1083.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1083
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/RS21108_IMG_3209-qut-1180x666.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 666
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/RS21108_IMG_3209-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/RS21108_IMG_3209-qut-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/RS21108_IMG_3209-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473597823,
"modified": 1473644493,
"caption": "Abbie Girl rides triumphant on her human, Michael, at the first-ever Northern California dog surfing championships in Pacifica on September 10, 2016.",
"description": "Abbie Girl rides triumphant on her human, Michael, at the first-ever Northern California dog surfing championships in Pacifica on September 10, 2016.",
"title": "RS21108_IMG_3209-qut",
"credit": "Photo: Rachael Myrow/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12046669": {
"type": "attachments",
"id": "arts_12046669",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12046669",
"found": true
},
"parent": 12046480,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/CabrilloDirector-e1473452609176-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/CabrilloDirector-e1473452609176-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/CabrilloDirector-e1473452609176.jpg",
"width": 800,
"height": 450
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/CabrilloDirector-e1473452609176-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/CabrilloDirector-e1473452609176-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/CabrilloDirector-e1473452609176-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/CabrilloDirector-e1473452609176-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/CabrilloDirector-e1473452609176-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/CabrilloDirector-e1473452609176-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/CabrilloDirector-e1473452609176-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/09/CabrilloDirector-e1473452609176-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1473452582,
"modified": 1473452759,
"caption": "Cristian Măcelaru, new Music Director and Conductor for the Cabrillo Festival of Contemporary Music",
"description": "Cristian Măcelaru, new Music Director and Conductor for the Cabrillo Festival of Contemporary Music",
"title": "CabrilloDirector",
"credit": "Photo: Sorin Popa",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11980464": {
"type": "attachments",
"id": "arts_11980464",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11980464",
"found": true
},
"parent": 11975397,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/RS20972_HomeIsWhereYouHangYourHeart-qut-400x226.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 226
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/RS20972_HomeIsWhereYouHangYourHeart-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/RS20972_HomeIsWhereYouHangYourHeart-qut.jpg",
"width": 878,
"height": 495
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/RS20972_HomeIsWhereYouHangYourHeart-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/RS20972_HomeIsWhereYouHangYourHeart-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/RS20972_HomeIsWhereYouHangYourHeart-qut-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/RS20972_HomeIsWhereYouHangYourHeart-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/RS20972_HomeIsWhereYouHangYourHeart-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/RS20972_HomeIsWhereYouHangYourHeart-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/RS20972_HomeIsWhereYouHangYourHeart-qut-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/08/RS20972_HomeIsWhereYouHangYourHeart-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1472168654,
"modified": 1473431316,
"caption": "\"Home Is Where Where You Hang Your Heart,\" by Erica Atreya. After 18 years living in San Jose, she moved to Folsom so she and her husband could buy a house. She knows of at least five other friends who've been \"priced out\" in the San Francisco Bay Area in just the last year and a half.",
"description": "\"Home Is Where Where You Hang Your Heart,\" by Erica Atreya. After 18 years living in San Jose, she moved to Folsom so she and her husband could buy a house. She knows of at least five other friends who've been \"priced out\" in the San Francisco Bay Area in just the last year and a half.",
"title": "RS20972_HomeIsWhereYouHangYourHeart-qut",
"credit": "Photo: Courtesy of Erica Atreya",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"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
}
},
"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
},
"cmusiker": {
"type": "authors",
"id": "32",
"meta": {
"index": "authors_1716337520",
"id": "32",
"found": true
},
"name": "Cy Musiker",
"firstName": "Cy",
"lastName": "Musiker",
"slug": "cmusiker",
"email": "cmusiker@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Cy Musiker is a former co-host of The Do List and a former reporter covering the arts for KQED News and The California Report. He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.",
"avatar": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cy Musiker | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmusiker"
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"rachael-myrow": {
"type": "authors",
"id": "251",
"meta": {
"index": "authors_1716337520",
"id": "251",
"found": true
},
"name": "Rachael Myrow",
"firstName": "Rachael",
"lastName": "Myrow",
"slug": "rachael-myrow",
"email": "rmyrow@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Senior Editor of KQED's Silicon Valley News Desk",
"bio": "• I write and edit stories about how Silicon Valley power and policies shape everyday life in California. I’m also passionate about making Bay Area history and culture more accessible to a broad public. • I’ve been a journalist for most of my life, starting in high school with The Franklin Press in Los Angeles, where I grew up. While earning my first degree in English at UC Berkeley, I got my start in public radio at KALX-FM. After completing a second degree in journalism at Cal, I landed my first professional job at Marketplace, then moved on to KPCC (now LAist), and then KQED, where I hosted The California Report for more than seven years. • My reporting has appeared on NPR, The World, WBUR’s \u003ci>Here & Now\u003c/i>, and the BBC. I also guest host for KQED’s \u003ci>Forum\u003c/i>, as well as the Commonwealth Club in San Francisco. • I speak periodically on media, democracy and technology issues, and do voiceover work for documentaries and educational video projects. • Outside of the studio, you'll find me hiking Bay Area trails and whipping up Insta-ready meals in my kitchen. • I do not accept gifts, money, or favors from anyone connected to my reporting, I don't pay people for information, and I do not support or donate to political causes. • I strive to treat the people I report on with fairness, honesty, and respect. I also recognize there are often multiple sides to a story and work to verify information through multiple sources and documentation. If I get something wrong, I correct it.",
"avatar": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twitter": "rachaelmyrow",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": "https://www.linkedin.com/in/rachaelmyrow/",
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"edit_others_posts",
"editor"
]
},
{
"site": "futureofyou",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"author"
]
}
],
"headData": {
"title": "Rachael Myrow | KQED",
"description": "Senior Editor of KQED's Silicon Valley News Desk",
"ogImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/rachael-myrow"
},
"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/39af590a0e19126bafbf121ec9d891a77a3d680061d7cc03d720efe706992707?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Claudia Escobar | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/39af590a0e19126bafbf121ec9d891a77a3d680061d7cc03d720efe706992707?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/39af590a0e19126bafbf121ec9d891a77a3d680061d7cc03d720efe706992707?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": 10.815924
},
"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": 231
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=news",
"seeMore": false,
"paginated": true,
"page": 231
}
},
{
"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_12053920": {
"type": "posts",
"id": "arts_12053920",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12053920",
"score": null,
"sort": [
1473617669000
]
},
"guestAuthors": [],
"slug": "surfing-dogs-crush-it-at-norcal-championships-in-pacifica",
"title": "Surfing Dogs Crush It at NorCal Championships in Pacifica",
"publishDate": 1473617669,
"format": "standard",
"headTitle": "Surfing Dogs Crush It at NorCal Championships in Pacifica | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Dog surfing competitions are popular all over the country and beyond. But shockingly, despite the freezing water and wind chill, there’s never been one in Northern California. Not, that is, until this past weekend at the \u003ca href=\"http://www.surfdogchampionships.com/\" target=\"_blank\" rel=\"noopener\">World Dog Surfing Championships\u003c/a> in Pacifica.\u003c/p>\n\u003cp>Abbie Girl, the Australian Kelpie pictured above, won top honors at Linda Mar Beach. Abbie Girl’s “dad” is Michael Uy. When he’s not running a tech start up called \u003ca href=\"http://www.thebluetribe.com/\" target=\"_blank\" rel=\"noopener\">Blue Tribe\u003c/a> in San Diego, Uy, 46, is busy managing Abbie’s career.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/282600443″ 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>This canine champion of the waves has her own \u003ca href=\"http://www.abbiesurfs.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a>, of course, as well as a strong presence on \u003ca href=\"https://www.facebook.com/abbiesurfs/?fref=ts\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a>, \u003ca href=\"https://twitter.com/abbiesurfs\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a>, and \u003ca href=\"https://www.instagram.com/abbiesurfs/?hl=en\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>. And that’s not all. Abbie Girl has done commercials, appeared on TV, and even had a cameo role in the 2010 movie \u003cem>Marmaduke\u003c/em>. She’s got sponsorships, including \u003ca href=\"http://intsoftboards.com/\" target=\"_blank\" rel=\"noopener\">INT Surfboards\u003c/a> in Carlsbad, and is a GoPro ambassador.\u003c/p>\n\u003cp>As is \u003ca href=\"https://www.facebook.com/brandysurfs\" target=\"_blank\" rel=\"noopener\">Brandy the Pug\u003c/a>, who came in second.\u003c/p>\n\u003cfigure id=\"attachment_12053988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12053988 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-800x451.jpg\" alt=\"Don't let her diminutive size fool you. Brandy is a monster on the waves and online. Her GoPro videos get hundreds of thousands of viewers.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t let her diminutive size fool you. Brandy is a monster on the waves and online. Her GoPro videos get hundreds of thousands of viewers. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A “tail” of two surfing dogs\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brandy is also Abbie’s “bae” (Before Anyone Else) on social media and in the water, where the two dogs ride side-by-side, and even tandem together. It’s hard to overstate how chill these canines are, whether on the beach with hordes of onlookers crowding around, or in the surf, completely un-phased when their boards go flying out from under them.\u003c/p>\n\u003cp>Jonny Dorman, Brandy’s dad, says Abbie has an easier time of it on the surfboard because she’s, well, bigger than Brandy.\u003c/p>\n\u003cp>Not that Brandy fails to make an impression.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=3_2Bg06nS8E]\u003c/p>\n\u003cp>Brandy started in a backyard pool with boogie boards. She couldn’t stay out of the water if her human family was in it.\u003c/p>\n\u003cp>Abbie’s journey towards surfing glory, meanwhile, started in the ocean. She was a rescue dog in need of a confidence-building sport. Uy found her at \u003ca href=\"http://www.hssv.org/\" target=\"_blank\" rel=\"noopener\">Humane Society Silicon Valley\u003c/a> 10 years ago. Then they moved to San Diego, where Uy is an open water swimmer. “I didn’t surf before my dog did; I learned after my dog,” Uy says. “She used to follow me out into the water. We just put her on a surfboard to rest one day, and she stood up, which is unusual.”\u003c/p>\n\u003cp>Nine years later, Abbie is doing the animal surfing circuit. A couple of weeks ago, she lost out to a cat and pig duo in Hawaii. Seriously.\u003c/p>\n\u003cp>https://www.instagram.com/p/BJlv2MOAmdm/?hl=en\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Kama the Surfing Pig is also a \u003ca href=\"https://www.youtube.com/watch?v=HgQPyU3J0P0\" target=\"_blank\" rel=\"noopener\">GoPro\u003c/a> superstar. Kitty’s just starting, but she’s on the verge of social media stardom.\u003c/p>\n\u003cp>\u003cstrong>A sport for dogs? Or snap-happy dog lovers? Or both?\u003c/strong>\u003c/p>\n\u003cp>All comers with a life vest and dog-sized surfboard were welcome to compete in Pacifica. But even though the event attracted hundreds of onlookers to the chilly beach on Saturday morning, only five canine surfers signed up for the challenge. Compare that to the 60 to 70 dogs that show up to compete at more established contests in Southern California and Hawaii, where the water is, like, warmer.\u003c/p>\n\u003cp>8uuuuuuuuuuuuuuuuuuuuuuuuuuuuuu. (Sorry, that’s my cat, Owl, commenting that the obvious problem of this story is the canine focus.)\u003c/p>\n\u003cp>With so few competitors, all the dogs who braved the water at Saturday’s event won ribbons. There’s no prize purse, but the competition helps to raise money for charities including the \u003ca href=\"http://www.marinhumanesociety.org/\" target=\"_blank\" rel=\"noopener\">Marin Humane Society\u003c/a>, \u003ca href=\"http://www.muttville.org/\" target=\"_blank\" rel=\"noopener\">Muttville\u003c/a>, and the \u003ca href=\"https://www.peninsulahumanesociety.org/\" target=\"_blank\" rel=\"noopener\">Peninsula Humane Society\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12053989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12053989\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-800x450.jpg\" alt=\"There was no shortage of people to check out - and photograph - the five dogs and their humans willing to brave the cold waters off Linda Mar Beach.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There was no shortage of people to check out – and photograph – the five dogs and their humans willing to brave the cold waters off Linda Mar Beach. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the small turnout of dogs, Andre Crump, co-author of the book that started this craze, \u003ca href=\"https://www.amazon.com/Dogs-Guide-Surfing-Hanging-Friend/dp/0979864062\" target=\"_blank\" rel=\"noopener\">\u003cem>The \u003c/em>\u003cem>DOG’S\u003c/em>\u003cem> \u003c/em>\u003cem>Guide to \u003c/em>\u003cem>SURFING\u003c/em>\u003cem>: Hanging Ten with Man’s Best Friend\u003c/em>\u003c/a>, hopes that the sport will take off in Northern California, as it has already done in Southern California, Hawaii, Texas, Florida and Australia. “You know, as long as we can have a fun event this first time, and bring awareness to the sport and bring awareness to the dog charities, we’ll be pretty happy,” Crump says.\u003c/p>\n\u003cp>\u003cstrong>Although, the weather…\u003c/strong>\u003c/p>\n\u003cp>Temperatures hovered around 60 degrees on Saturday. Though the dogs and their humans were game, it was pretty clear the visitors from Southern California had a hard time maintaining enthusiasm in such frigid conditions.\u003c/p>\n\u003cp>Nevertheless, the dogs appeared to draw energy from the crowd, which gushed and cheered the surfers on as if they were rock stars, just for managing to stay upright on their boards; or even for just for trying to.\u003c/p>\n\u003cfigure id=\"attachment_12053990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12053990 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-800x451.jpg\" alt=\"Wes, a Yorkie/Jack Russell Terrier mix, is so new to dog surfing, the tags are still on his outfit. But with only three dogs competing in the small/medium category, he placed third.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wes, a Yorkie/Jack Russell Terrier mix, is so new to dog surfing, the tags are still on his outfit. But with only three dogs competing in the small/medium category, he placed third. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Wes, a Yorkie/Jack Russell Terrier mix, won third place on his first try at dog surfing. This thrilled his owner, Christine Campopiano of Novato. “He kind of wiped out on his first attempt,” Campopiano says. “And his second. And his third. And I think that was all he had. I’m really proud.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "Northern California's first dog surfing contest suggests there's an appetite for more wave-riding canine action, despite the gnarly conditions.",
"status": "publish",
"parent": 0,
"modified": 1726787441,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 25,
"wordCount": 1018
},
"headData": {
"title": "Surfing Dogs Crush It at NorCal Championships in Pacifica | KQED",
"description": "Northern California's first dog surfing contest suggests there's an appetite for more wave-riding canine action, despite the gnarly conditions.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Surfing Dogs Crush It at NorCal Championships in Pacifica",
"datePublished": "2016-09-11T11:14:29-07:00",
"dateModified": "2024-09-19T16:10:41-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12053920/surfing-dogs-crush-it-at-norcal-championships-in-pacifica",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dog surfing competitions are popular all over the country and beyond. But shockingly, despite the freezing water and wind chill, there’s never been one in Northern California. Not, that is, until this past weekend at the \u003ca href=\"http://www.surfdogchampionships.com/\" target=\"_blank\" rel=\"noopener\">World Dog Surfing Championships\u003c/a> in Pacifica.\u003c/p>\n\u003cp>Abbie Girl, the Australian Kelpie pictured above, won top honors at Linda Mar Beach. Abbie Girl’s “dad” is Michael Uy. When he’s not running a tech start up called \u003ca href=\"http://www.thebluetribe.com/\" target=\"_blank\" rel=\"noopener\">Blue Tribe\u003c/a> in San Diego, Uy, 46, is busy managing Abbie’s career.\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/282600443″&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/282600443″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This canine champion of the waves has her own \u003ca href=\"http://www.abbiesurfs.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a>, of course, as well as a strong presence on \u003ca href=\"https://www.facebook.com/abbiesurfs/?fref=ts\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a>, \u003ca href=\"https://twitter.com/abbiesurfs\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a>, and \u003ca href=\"https://www.instagram.com/abbiesurfs/?hl=en\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>. And that’s not all. Abbie Girl has done commercials, appeared on TV, and even had a cameo role in the 2010 movie \u003cem>Marmaduke\u003c/em>. She’s got sponsorships, including \u003ca href=\"http://intsoftboards.com/\" target=\"_blank\" rel=\"noopener\">INT Surfboards\u003c/a> in Carlsbad, and is a GoPro ambassador.\u003c/p>\n\u003cp>As is \u003ca href=\"https://www.facebook.com/brandysurfs\" target=\"_blank\" rel=\"noopener\">Brandy the Pug\u003c/a>, who came in second.\u003c/p>\n\u003cfigure id=\"attachment_12053988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12053988 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-800x451.jpg\" alt=\"Don't let her diminutive size fool you. Brandy is a monster on the waves and online. Her GoPro videos get hundreds of thousands of viewers.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21109_IMG_1912-qut-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t let her diminutive size fool you. Brandy is a monster on the waves and online. Her GoPro videos get hundreds of thousands of viewers. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A “tail” of two surfing dogs\u003c/strong>\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>Brandy is also Abbie’s “bae” (Before Anyone Else) on social media and in the water, where the two dogs ride side-by-side, and even tandem together. It’s hard to overstate how chill these canines are, whether on the beach with hordes of onlookers crowding around, or in the surf, completely un-phased when their boards go flying out from under them.\u003c/p>\n\u003cp>Jonny Dorman, Brandy’s dad, says Abbie has an easier time of it on the surfboard because she’s, well, bigger than Brandy.\u003c/p>\n\u003cp>Not that Brandy fails to make an impression.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3_2Bg06nS8E'\n title='//www.youtube.com/embed/3_2Bg06nS8E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Brandy started in a backyard pool with boogie boards. She couldn’t stay out of the water if her human family was in it.\u003c/p>\n\u003cp>Abbie’s journey towards surfing glory, meanwhile, started in the ocean. She was a rescue dog in need of a confidence-building sport. Uy found her at \u003ca href=\"http://www.hssv.org/\" target=\"_blank\" rel=\"noopener\">Humane Society Silicon Valley\u003c/a> 10 years ago. Then they moved to San Diego, where Uy is an open water swimmer. “I didn’t surf before my dog did; I learned after my dog,” Uy says. “She used to follow me out into the water. We just put her on a surfboard to rest one day, and she stood up, which is unusual.”\u003c/p>\n\u003cp>Nine years later, Abbie is doing the animal surfing circuit. A couple of weeks ago, she lost out to a cat and pig duo in Hawaii. Seriously.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/BJlv2MOAmdm/?hl=en"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp>Kama the Surfing Pig is also a \u003ca href=\"https://www.youtube.com/watch?v=HgQPyU3J0P0\" target=\"_blank\" rel=\"noopener\">GoPro\u003c/a> superstar. Kitty’s just starting, but she’s on the verge of social media stardom.\u003c/p>\n\u003cp>\u003cstrong>A sport for dogs? Or snap-happy dog lovers? Or both?\u003c/strong>\u003c/p>\n\u003cp>All comers with a life vest and dog-sized surfboard were welcome to compete in Pacifica. But even though the event attracted hundreds of onlookers to the chilly beach on Saturday morning, only five canine surfers signed up for the challenge. Compare that to the 60 to 70 dogs that show up to compete at more established contests in Southern California and Hawaii, where the water is, like, warmer.\u003c/p>\n\u003cp>8uuuuuuuuuuuuuuuuuuuuuuuuuuuuuu. (Sorry, that’s my cat, Owl, commenting that the obvious problem of this story is the canine focus.)\u003c/p>\n\u003cp>With so few competitors, all the dogs who braved the water at Saturday’s event won ribbons. There’s no prize purse, but the competition helps to raise money for charities including the \u003ca href=\"http://www.marinhumanesociety.org/\" target=\"_blank\" rel=\"noopener\">Marin Humane Society\u003c/a>, \u003ca href=\"http://www.muttville.org/\" target=\"_blank\" rel=\"noopener\">Muttville\u003c/a>, and the \u003ca href=\"https://www.peninsulahumanesociety.org/\" target=\"_blank\" rel=\"noopener\">Peninsula Humane Society\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12053989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12053989\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-800x450.jpg\" alt=\"There was no shortage of people to check out - and photograph - the five dogs and their humans willing to brave the cold waters off Linda Mar Beach.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21112_IMG_3068-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There was no shortage of people to check out – and photograph – the five dogs and their humans willing to brave the cold waters off Linda Mar Beach. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the small turnout of dogs, Andre Crump, co-author of the book that started this craze, \u003ca href=\"https://www.amazon.com/Dogs-Guide-Surfing-Hanging-Friend/dp/0979864062\" target=\"_blank\" rel=\"noopener\">\u003cem>The \u003c/em>\u003cem>DOG’S\u003c/em>\u003cem> \u003c/em>\u003cem>Guide to \u003c/em>\u003cem>SURFING\u003c/em>\u003cem>: Hanging Ten with Man’s Best Friend\u003c/em>\u003c/a>, hopes that the sport will take off in Northern California, as it has already done in Southern California, Hawaii, Texas, Florida and Australia. “You know, as long as we can have a fun event this first time, and bring awareness to the sport and bring awareness to the dog charities, we’ll be pretty happy,” Crump says.\u003c/p>\n\u003cp>\u003cstrong>Although, the weather…\u003c/strong>\u003c/p>\n\u003cp>Temperatures hovered around 60 degrees on Saturday. Though the dogs and their humans were game, it was pretty clear the visitors from Southern California had a hard time maintaining enthusiasm in such frigid conditions.\u003c/p>\n\u003cp>Nevertheless, the dogs appeared to draw energy from the crowd, which gushed and cheered the surfers on as if they were rock stars, just for managing to stay upright on their boards; or even for just for trying to.\u003c/p>\n\u003cfigure id=\"attachment_12053990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12053990 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-800x451.jpg\" alt=\"Wes, a Yorkie/Jack Russell Terrier mix, is so new to dog surfing, the tags are still on his outfit. But with only three dogs competing in the small/medium category, he placed third.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21110_IMG_1121-qut-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wes, a Yorkie/Jack Russell Terrier mix, is so new to dog surfing, the tags are still on his outfit. But with only three dogs competing in the small/medium category, he placed third. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Wes, a Yorkie/Jack Russell Terrier mix, won third place on his first try at dog surfing. This thrilled his owner, Christine Campopiano of Novato. “He kind of wiped out on his first attempt,” Campopiano says. “And his second. And his third. And I think that was all he had. I’m really proud.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12053920/surfing-dogs-crush-it-at-norcal-championships-in-pacifica",
"authors": [
"251"
],
"categories": [
"arts_235",
"arts_75"
],
"tags": [
"arts_1037",
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_12053987",
"label": "arts"
},
"arts_12046480": {
"type": "posts",
"id": "arts_12046480",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12046480",
"score": null,
"sort": [
1473462612000
]
},
"guestAuthors": [],
"slug": "cabrillo-festival-hires-new-musical-director-and-conductor",
"title": "Cabrillo Festival Hires New Musical Director and Conductor",
"publishDate": 1473462612,
"format": "standard",
"headTitle": "Cabrillo Festival Hires New Musical Director and Conductor | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music \u003c/a>, one of the country’s most prominent and long-running annual festivals devoted to new music for orchestras, announced Friday the appointment of a new musical director and conductor.\u003c/p>\n\u003cp>After a year-long search, the Santa Cruz-based festival’s board of directors hired award-winning conductor \u003ca href=\"http://macelaru.com/\" target=\"_blank\" rel=\"noopener\">Cristian Măcelaru\u003c/a> to take over the artistic reins of the 53-year-old event.\u003c/p>\n\u003cp>“We are absolutely thrilled to have found Cristian Măcelaru,” said Cabrillo Festival executive director Ellen Primack, who led the search with the board of directors. “His curiosity and genuine passion for new music, coupled with his skill and dynamism on the podium, make him a perfect fit for the festival.”\u003c/p>\n\u003cp>Măcelaru’s tenure at Cabrillo is effective immediately. The 36-year-old maestro, who hails from Romania, will also continue to serve as the conductor-in-residence at the Philadelphia Orchestra. He makes his home in that city, where he lives with his wife Cheryl and children Beniamin and Maria.\u003c/p>\n\u003cp>Widely considered a rising star in the orchestral music world, Măcelaru has conducted orchestras all over the world, including the New York Philharmonic, the Chicago Symphony, the Philadelphia Orchestra, the Los Angeles Philharmonic and the National Symphony Orchestra.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Măcelaru is a good fit for Cabrillo because of his passion for new music. “My interest in working closely with living composers, to also be able to go deeper into the meaning of the music they write, never diminished,” he said in an email interview. Măcelaru consistently programs works by living composers, such as John Corigliano, Jake Heggie, Jennifer Higdon, Pierre Jalbert, and Karim Al Zand. His credits include leading the U.S. premieres of the Wynton Marsalis Violin Concerto at the Ravinia Festival with the Chicago Symphony and Nicola Benedetti, and Colin Matthews’ \u003cem>Turning Point\u003c/em> at the Tanglewood Contemporary Music Festival.\u003c/p>\n\u003cp>Măcelaru takes over from Marin Alsop. Alsop was the first conductor to win a MacArthur “Genius” Grant and became the festival’s music director in 1992. As the 58-year-old Alsop leaves after conducting her \u003ca href=\"https://ww2.kqed.org/arts/2015/09/17/marin-alsop-to-step-down-as-leader-of-cabrillo-contemporary-music-festival/\" target=\"_blank\" rel=\"noopener\">25th season at Cabrillo\u003c/a>, Măcelaru says he plans to continue the course that his predecessor set out on with the festival.\u003c/p>\n\u003cp>“During the process of learning about the Cabrillo festival I never felt there was something that needed to change immediately,” Măcelaru said. “Thus my current approach is to continue identifying great talent, both in terms of composition and performance, remain flexible in our embrace of innovation and work hard in maintaining a standard well established already.”\u003c/p>\n\u003cp>\u003cem>The first Cabrillo Festival with Măcelaru at the helm will run from Sunday, Jul. 30 to Saturday, Aug. 12, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Marin Alsop’s tenure at Cabrillo and her ongoing fight to put more women on the podium \u003ca href=\"https://ww2.kqed.org/arts/2016/08/05/marin-alsop-quits-cabrillo-continues-fight-for-women-conductors/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Cristian Măcelaru, a rising star in the world of conducting, takes over from Marin Alsop after 25 seasons.",
"status": "publish",
"parent": 0,
"modified": 1726787442,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 516
},
"headData": {
"title": "Cabrillo Festival Hires New Musical Director and Conductor | KQED",
"description": "Cristian Măcelaru, a rising star in the world of conducting, takes over from Marin Alsop after 25 seasons.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cabrillo Festival Hires New Musical Director and Conductor",
"datePublished": "2016-09-09T16:10:12-07:00",
"dateModified": "2024-09-19T16:10:42-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "493352947",
"path": "/arts/12046480/cabrillo-festival-hires-new-musical-director-and-conductor",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music \u003c/a>, one of the country’s most prominent and long-running annual festivals devoted to new music for orchestras, announced Friday the appointment of a new musical director and conductor.\u003c/p>\n\u003cp>After a year-long search, the Santa Cruz-based festival’s board of directors hired award-winning conductor \u003ca href=\"http://macelaru.com/\" target=\"_blank\" rel=\"noopener\">Cristian Măcelaru\u003c/a> to take over the artistic reins of the 53-year-old event.\u003c/p>\n\u003cp>“We are absolutely thrilled to have found Cristian Măcelaru,” said Cabrillo Festival executive director Ellen Primack, who led the search with the board of directors. “His curiosity and genuine passion for new music, coupled with his skill and dynamism on the podium, make him a perfect fit for the festival.”\u003c/p>\n\u003cp>Măcelaru’s tenure at Cabrillo is effective immediately. The 36-year-old maestro, who hails from Romania, will also continue to serve as the conductor-in-residence at the Philadelphia Orchestra. He makes his home in that city, where he lives with his wife Cheryl and children Beniamin and Maria.\u003c/p>\n\u003cp>Widely considered a rising star in the orchestral music world, Măcelaru has conducted orchestras all over the world, including the New York Philharmonic, the Chicago Symphony, the Philadelphia Orchestra, the Los Angeles Philharmonic and the National Symphony Orchestra.\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>Măcelaru is a good fit for Cabrillo because of his passion for new music. “My interest in working closely with living composers, to also be able to go deeper into the meaning of the music they write, never diminished,” he said in an email interview. Măcelaru consistently programs works by living composers, such as John Corigliano, Jake Heggie, Jennifer Higdon, Pierre Jalbert, and Karim Al Zand. His credits include leading the U.S. premieres of the Wynton Marsalis Violin Concerto at the Ravinia Festival with the Chicago Symphony and Nicola Benedetti, and Colin Matthews’ \u003cem>Turning Point\u003c/em> at the Tanglewood Contemporary Music Festival.\u003c/p>\n\u003cp>Măcelaru takes over from Marin Alsop. Alsop was the first conductor to win a MacArthur “Genius” Grant and became the festival’s music director in 1992. As the 58-year-old Alsop leaves after conducting her \u003ca href=\"https://ww2.kqed.org/arts/2015/09/17/marin-alsop-to-step-down-as-leader-of-cabrillo-contemporary-music-festival/\" target=\"_blank\" rel=\"noopener\">25th season at Cabrillo\u003c/a>, Măcelaru says he plans to continue the course that his predecessor set out on with the festival.\u003c/p>\n\u003cp>“During the process of learning about the Cabrillo festival I never felt there was something that needed to change immediately,” Măcelaru said. “Thus my current approach is to continue identifying great talent, both in terms of composition and performance, remain flexible in our embrace of innovation and work hard in maintaining a standard well established already.”\u003c/p>\n\u003cp>\u003cem>The first Cabrillo Festival with Măcelaru at the helm will run from Sunday, Jul. 30 to Saturday, Aug. 12, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Marin Alsop’s tenure at Cabrillo and her ongoing fight to put more women on the podium \u003ca href=\"https://ww2.kqed.org/arts/2016/08/05/marin-alsop-quits-cabrillo-continues-fight-for-women-conductors/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12046480/cabrillo-festival-hires-new-musical-director-and-conductor",
"authors": [
"93"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1448",
"arts_596"
],
"featImg": "arts_12046669",
"label": "arts"
},
"arts_11975397": {
"type": "posts",
"id": "arts_11975397",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11975397",
"score": null,
"sort": [
1473460247000
]
},
"guestAuthors": [],
"slug": "priced-out-artist-moves-to-folsom-leaves-heart-in-san-jose",
"title": "Priced Out Artist Moves To Folsom, Leaves Heart in San Jose",
"publishDate": 1473460247,
"format": "audio",
"headTitle": "Priced Out Artist Moves To Folsom, Leaves Heart in San Jose | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"https://www.facebook.com/atreyart/\" target=\"_blank\" rel=\"noopener\">Erica Atreya\u003c/a> never fell out of love with San Jose. The Silicon Valley capital just became too damn expensive. Her husband, Krishna, really wanted to buy. But even with his engineer’s salary, the couple could only afford to rent a one bedroom town home.\u003c/p>\n\u003cp>The Atreyas soon realized that if left the San Francisco Bay Area, they could actually buy a piece of the proverbial American dream. So they started house-hunting farther and farther afield, in places like Pleasanton, Dublin and Livermore. But their goal of homeownership continued to remain elusive. “We kept getting bought out by people who were offering cash,” Atreya says.\u003c/p>\n\u003cp>Finally, the Atreyas found their way to Folsom, east of Sacramento. Erika Atreya loves the small city’s easy-going vibe and its proximity to nature. But she misses San Jose.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/282129559″ 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>A year and a half out, she continues to struggle with the emotional fallout of the change. “There was more than an adjustment,” says the self-taught visual artist, who lived in San Jose for 18 years before she and her husband decamped for Folsom. “There was depression, and loneliness.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For one thing, San Jose’s demographic mix makes for a richer, multi-cultural feel, which Atreya loves. For another, the art gallery scene in Folsom doesn’t really compare to her old home base. “Back home, I had so many people to reach out to in my art community,” Atreya says.\u003c/p>\n\u003cp>\u003cstrong>Room to paint in Folsom\u003c/strong>\u003c/p>\n\u003cp>That said, the Atreyas’ new three-bedroom house gives the couple space to breathe and grow. Now, instead of ever so carefully spreading out on the couch with her materials, as she used to in San Jose, Atreya has her own studio in the garage. She also has enough wall space in the house to accommodate 40 works of art, many by friends she had to leave behind.\u003c/p>\n\u003cp>Atreya is constantly adding to the collection with new works, like this one:\u003c/p>\n\u003cfigure id=\"attachment_11980479\" class=\"wp-caption aligncenter\" style=\"max-width: 549px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11980479\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/13076600_1290210411006559_6598698964301793119_n-549x600.jpg\" alt=\"“Eve,” by Folsom artist Erica Atreya, was produced for a show with a collective called reCREATE, that upcycles items like this body form of a female torso.\" width=\"549\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/13076600_1290210411006559_6598698964301793119_n-549x600.jpg 549w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/13076600_1290210411006559_6598698964301793119_n-400x437.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/13076600_1290210411006559_6598698964301793119_n.jpg 726w\" sizes=\"(max-width: 549px) 100vw, 549px\">\u003cfigcaption class=\"wp-caption-text\">“Eve,” by Folsom artist Erica Atreya, was produced for a show with a collective called reCREATE, that upcycles items like this body form of a female torso. \u003ccite>(Photo: Courtesy of Anthony Barbaria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did lot of detail and texturization with puff paint,” Atreya says of one of the pieces on display in her home, titled \u003cem>Eve\u003c/em>. “So you can actually touch the piece.”\u003c/p>\n\u003cp>\u003cstrong>Not Johnny Cash’s Folsom\u003c/strong>\u003c/p>\n\u003cp>The Folsom the Atreyas moved to is not the one that comes to mind from the 1968 Johnny Cash song “Folsom Prison Blues.” These days, the city is like a comfortable, middle class Sacramento suburb. \u003ca href=\"http://www.intel.com/content/www/us/en/corporate-responsibility/intel-in-california.html\" target=\"_blank\" rel=\"noopener\">Intel\u003c/a> is the biggest employer. Half the population hails from the San Francisco Bay Area or Southern California.\u003c/p>\n\u003cfigure id=\"attachment_12042710\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12042710 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21101_IMG_2710-qut-400x533.jpg\" alt='The Atreyas moved numerous times within San Jose before they left. \"We kept moving further away from the main tech companies, because it would get cheaper the further we moved,\" but those rents rose, too.' width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21101_IMG_2710-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21101_IMG_2710-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21101_IMG_2710-qut.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Atreyas moved numerous times within San Jose before they left. “We kept moving further away from the main tech companies, because it would get cheaper the further we moved,” but those rents rose, too. \u003ccite>(Photo: Courtesy of Erica Atreya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s cyclical,” explains Mary Ann McAlea, senior vice president of the \u003ca href=\"http://www.folsom.partners/\" target=\"_blank\" rel=\"noopener\">Greater Folsom Partnership\u003c/a>, a consortium of organizations that oversee tourism, trade and economic development in the region. McAlea says Folsom’s population expands every time real estate booms to the west. “It’s tied to the real estate values on the coast.”\u003c/p>\n\u003cp>McAlea says Folsom has witnessed a spike in in-migration over the last five years, especially young families looking for more square footage in an area where they can also find well-paying jobs.\u003c/p>\n\u003cp>\u003cstrong>Dramatic losses for San Jose\u003c/strong>\u003c/p>\n\u003cp>In recent years, rising real estate prices have pressured – or forced – artists to leave San Francisco and Oakland for cheaper places elsewhere. The same thing is happening in Silicon Valley.\u003c/p>\n\u003cp>The average rent for a San Jose apartment these days is $2,600 according to the real estate brokerage firm \u003ca href=\"http://www.marcusmillichap.com/research/researchreports/reports/2016/06/20/san-jose-apartment-research-report\" target=\"_blank\" rel=\"noopener\">Marcus & Millichap\u003c/a>. That’s not as bad as San Francisco, but San Jose rents are still steep, and nearly 50 percent higher than they were five years ago.\u003c/p>\n\u003cp>Even for those who can afford to pay the rent, the pull to leave for cheaper living is hard to resist — especially if you’re an artist whose partner makes the bulk of the household income.\u003c/p>\n\u003cfigure id=\"attachment_12042714\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12042714 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-400x400.jpg\" alt=\"These days, Erica Atreya still drives three hours from Folsom to San Jose every month to participate in Arte nella Piazza, an art bazaar in San Jose’s Little Italy.\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">These days, Erica Atreya still drives three hours from Folsom to San Jose every month to participate in Arte nella Piazza, an art bazaar in San Jose’s Little Italy. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the time since she left for Folsom, Atreya says she knows of five other artists who left their hearts in San Jose. This number includes a musician who like her also moved to Sacramento County, a painter who moved in El Dorado County, and three people who left for Oregon. “We know the market has changed drastically,” acknowledges Kerry Adams-Hapner, San Jose’s director of cultural affairs.\u003c/p>\n\u003cp>Adams-Hapner says the city of San Jose is \u003ca href=\"http://www.sanjoseculture.org/DocumentCenter/View/30592\" target=\"_blank\" rel=\"noopener\">surveying its artists\u003c/a> for the second time in eight years to get a current handle on their housing and work space issues. Real estate costs are dramatically higher now. But even five years ago, 47 percent of the 700 artists canvassed in the survey found San Jose area housing unaffordable; two-thirds reported spending more than 30 percent of their income on mortgage or rent.\u003c/p>\n\u003cp>“People need a space to live, fundamentally,” Adams Hapner says. “Also, people need a space to present their work. They need a space to rehearse. And they need spaces also to connect with each other and network.”\u003c/p>\n\u003cfigure id=\"attachment_12042717\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12042717 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-400x533.jpg\" alt=\"Many Silicon Valley artists, including Steve Borelli of Campbell, don't even begin to pay the rent with their art. But that's not a reason to give up the practice, or the community.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Many Silicon Valley artists, including Steve Borelli of Campbell, don’t even begin to pay the rent with their art. But that’s not a reason to give up the practice, or the community. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Folsom, Atreya is gradually building a new network of friends and professional contacts. But she still feels an emotional pull towards her old home. “All my art family’s there, mostly,” Atreya says. “So, my heart’s still here in San Jose.”\u003c/p>\n\u003cp>Atreya still regularly drives three hours southwest to reconnect with her friends in San Jose. She’s still a member of the \u003ca href=\"https://www.facebook.com/SanJoseArtSalon/\" target=\"_blank\" rel=\"noopener\">San Jose Art Salon\u003c/a>, a group of creatives who meet regularly for collective inspiration. And every month, she returns to \u003ca href=\"https://www.facebook.com/Arte.nella.Piazza/?fref=ts\">Arte nella Piazza\u003c/a>, an art bazaar in San Jose’s Little Italy neighborhood.\u003c/p>\n\u003cp>\u003cstrong>Those that stayed behind\u003c/strong>\u003c/p>\n\u003cp>This exodus of artists is depressing for those left behind in the South Bay, too – even if they’re not about to get priced out. At the art fair, Steve Borelli has his own table set up near Atreya’s with his abstract drawings available for sale.\u003c/p>\n\u003cp>“Every passing day, I feel I’m luckier,” Borelli says. Borelli bought a house years ago in Campbell, near San Jose. Borelli pays the mortgage with his salary as a graphic designer. But his true love is drawing – and his connection to the local artists’ community.\u003c/p>\n\u003cp>“I fear for the future,” Borelli says. “You know, if it keeps going the way that it is, eventually you’re going to see a mass migration out, and I just hope it never comes to that.”\u003c/p>\n\u003cfigure id=\"attachment_12042718\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12042718 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21098_13891871_1374119459282320_2980430368697866441_n-qut-400x533.jpg\" alt=\"Mia the cat gets interviewed at Erica Atreya's Folsom home.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21098_13891871_1374119459282320_2980430368697866441_n-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21098_13891871_1374119459282320_2980430368697866441_n-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21098_13891871_1374119459282320_2980430368697866441_n-qut.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mia the cat gets interviewed at Erica Atreya’s Folsom home. \u003ccite>(Photo: Courtesy of Erica Atreya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exodus is a function of the economy, says Matthew Mahood, president and CEO of the \u003ca href=\"https://www.sjchamber.com/\" target=\"_blank\" rel=\"noopener\">San Jose Silicon Valley Chamber of Commerce\u003c/a>.\u003c/p>\n\u003cp>The loss of school teachers and firefighters might seem to be a more pressing concern for San Jose than the flight of artists. But Mahood says quality of life is equally essential for the region to thrive going forward. “In order to attract and keep a quality workforce, you have to have arts and entertainment,” Mahood says. “Those things where people want to call this home.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
"blocks": [],
"excerpt": "Rising real estate prices are pushing artists out of Silicon Valley to places like Stockton, Folsom and Sacramento. But building a community beyond the Bay isn't easy.",
"status": "publish",
"parent": 0,
"modified": 1726700693,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 31,
"wordCount": 1450
},
"headData": {
"title": "Priced Out Artist Moves To Folsom, Leaves Heart in San Jose | KQED",
"description": "Rising real estate prices are pushing artists out of Silicon Valley to places like Stockton, Folsom and Sacramento. But building a community beyond the Bay isn't easy.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Priced Out Artist Moves To Folsom, Leaves Heart in San Jose",
"datePublished": "2016-09-09T15:30:47-07:00",
"dateModified": "2024-09-18T16:04:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestFields": "0",
"sticky": false,
"path": "/arts/11975397/priced-out-artist-moves-to-folsom-leaves-heart-in-san-jose",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.facebook.com/atreyart/\" target=\"_blank\" rel=\"noopener\">Erica Atreya\u003c/a> never fell out of love with San Jose. The Silicon Valley capital just became too damn expensive. Her husband, Krishna, really wanted to buy. But even with his engineer’s salary, the couple could only afford to rent a one bedroom town home.\u003c/p>\n\u003cp>The Atreyas soon realized that if left the San Francisco Bay Area, they could actually buy a piece of the proverbial American dream. So they started house-hunting farther and farther afield, in places like Pleasanton, Dublin and Livermore. But their goal of homeownership continued to remain elusive. “We kept getting bought out by people who were offering cash,” Atreya says.\u003c/p>\n\u003cp>Finally, the Atreyas found their way to Folsom, east of Sacramento. Erika Atreya loves the small city’s easy-going vibe and its proximity to nature. But she misses San Jose.\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/282129559″&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/282129559″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A year and a half out, she continues to struggle with the emotional fallout of the change. “There was more than an adjustment,” says the self-taught visual artist, who lived in San Jose for 18 years before she and her husband decamped for Folsom. “There was depression, and loneliness.”\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>For one thing, San Jose’s demographic mix makes for a richer, multi-cultural feel, which Atreya loves. For another, the art gallery scene in Folsom doesn’t really compare to her old home base. “Back home, I had so many people to reach out to in my art community,” Atreya says.\u003c/p>\n\u003cp>\u003cstrong>Room to paint in Folsom\u003c/strong>\u003c/p>\n\u003cp>That said, the Atreyas’ new three-bedroom house gives the couple space to breathe and grow. Now, instead of ever so carefully spreading out on the couch with her materials, as she used to in San Jose, Atreya has her own studio in the garage. She also has enough wall space in the house to accommodate 40 works of art, many by friends she had to leave behind.\u003c/p>\n\u003cp>Atreya is constantly adding to the collection with new works, like this one:\u003c/p>\n\u003cfigure id=\"attachment_11980479\" class=\"wp-caption aligncenter\" style=\"max-width: 549px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11980479\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/13076600_1290210411006559_6598698964301793119_n-549x600.jpg\" alt=\"“Eve,” by Folsom artist Erica Atreya, was produced for a show with a collective called reCREATE, that upcycles items like this body form of a female torso.\" width=\"549\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/13076600_1290210411006559_6598698964301793119_n-549x600.jpg 549w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/13076600_1290210411006559_6598698964301793119_n-400x437.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/13076600_1290210411006559_6598698964301793119_n.jpg 726w\" sizes=\"(max-width: 549px) 100vw, 549px\">\u003cfigcaption class=\"wp-caption-text\">“Eve,” by Folsom artist Erica Atreya, was produced for a show with a collective called reCREATE, that upcycles items like this body form of a female torso. \u003ccite>(Photo: Courtesy of Anthony Barbaria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did lot of detail and texturization with puff paint,” Atreya says of one of the pieces on display in her home, titled \u003cem>Eve\u003c/em>. “So you can actually touch the piece.”\u003c/p>\n\u003cp>\u003cstrong>Not Johnny Cash’s Folsom\u003c/strong>\u003c/p>\n\u003cp>The Folsom the Atreyas moved to is not the one that comes to mind from the 1968 Johnny Cash song “Folsom Prison Blues.” These days, the city is like a comfortable, middle class Sacramento suburb. \u003ca href=\"http://www.intel.com/content/www/us/en/corporate-responsibility/intel-in-california.html\" target=\"_blank\" rel=\"noopener\">Intel\u003c/a> is the biggest employer. Half the population hails from the San Francisco Bay Area or Southern California.\u003c/p>\n\u003cfigure id=\"attachment_12042710\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12042710 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21101_IMG_2710-qut-400x533.jpg\" alt='The Atreyas moved numerous times within San Jose before they left. \"We kept moving further away from the main tech companies, because it would get cheaper the further we moved,\" but those rents rose, too.' width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21101_IMG_2710-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21101_IMG_2710-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21101_IMG_2710-qut.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The Atreyas moved numerous times within San Jose before they left. “We kept moving further away from the main tech companies, because it would get cheaper the further we moved,” but those rents rose, too. \u003ccite>(Photo: Courtesy of Erica Atreya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s cyclical,” explains Mary Ann McAlea, senior vice president of the \u003ca href=\"http://www.folsom.partners/\" target=\"_blank\" rel=\"noopener\">Greater Folsom Partnership\u003c/a>, a consortium of organizations that oversee tourism, trade and economic development in the region. McAlea says Folsom’s population expands every time real estate booms to the west. “It’s tied to the real estate values on the coast.”\u003c/p>\n\u003cp>McAlea says Folsom has witnessed a spike in in-migration over the last five years, especially young families looking for more square footage in an area where they can also find well-paying jobs.\u003c/p>\n\u003cp>\u003cstrong>Dramatic losses for San Jose\u003c/strong>\u003c/p>\n\u003cp>In recent years, rising real estate prices have pressured – or forced – artists to leave San Francisco and Oakland for cheaper places elsewhere. The same thing is happening in Silicon Valley.\u003c/p>\n\u003cp>The average rent for a San Jose apartment these days is $2,600 according to the real estate brokerage firm \u003ca href=\"http://www.marcusmillichap.com/research/researchreports/reports/2016/06/20/san-jose-apartment-research-report\" target=\"_blank\" rel=\"noopener\">Marcus & Millichap\u003c/a>. That’s not as bad as San Francisco, but San Jose rents are still steep, and nearly 50 percent higher than they were five years ago.\u003c/p>\n\u003cp>Even for those who can afford to pay the rent, the pull to leave for cheaper living is hard to resist — especially if you’re an artist whose partner makes the bulk of the household income.\u003c/p>\n\u003cfigure id=\"attachment_12042714\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12042714 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-400x400.jpg\" alt=\"These days, Erica Atreya still drives three hours from Folsom to San Jose every month to participate in Arte nella Piazza, an art bazaar in San Jose’s Little Italy.\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21099_IMG_2395-qut-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">These days, Erica Atreya still drives three hours from Folsom to San Jose every month to participate in Arte nella Piazza, an art bazaar in San Jose’s Little Italy. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the time since she left for Folsom, Atreya says she knows of five other artists who left their hearts in San Jose. This number includes a musician who like her also moved to Sacramento County, a painter who moved in El Dorado County, and three people who left for Oregon. “We know the market has changed drastically,” acknowledges Kerry Adams-Hapner, San Jose’s director of cultural affairs.\u003c/p>\n\u003cp>Adams-Hapner says the city of San Jose is \u003ca href=\"http://www.sanjoseculture.org/DocumentCenter/View/30592\" target=\"_blank\" rel=\"noopener\">surveying its artists\u003c/a> for the second time in eight years to get a current handle on their housing and work space issues. Real estate costs are dramatically higher now. But even five years ago, 47 percent of the 700 artists canvassed in the survey found San Jose area housing unaffordable; two-thirds reported spending more than 30 percent of their income on mortgage or rent.\u003c/p>\n\u003cp>“People need a space to live, fundamentally,” Adams Hapner says. “Also, people need a space to present their work. They need a space to rehearse. And they need spaces also to connect with each other and network.”\u003c/p>\n\u003cfigure id=\"attachment_12042717\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12042717 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-400x533.jpg\" alt=\"Many Silicon Valley artists, including Steve Borelli of Campbell, don't even begin to pay the rent with their art. But that's not a reason to give up the practice, or the community.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21100_IMG_2400-qut-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Many Silicon Valley artists, including Steve Borelli of Campbell, don’t even begin to pay the rent with their art. But that’s not a reason to give up the practice, or the community. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Folsom, Atreya is gradually building a new network of friends and professional contacts. But she still feels an emotional pull towards her old home. “All my art family’s there, mostly,” Atreya says. “So, my heart’s still here in San Jose.”\u003c/p>\n\u003cp>Atreya still regularly drives three hours southwest to reconnect with her friends in San Jose. She’s still a member of the \u003ca href=\"https://www.facebook.com/SanJoseArtSalon/\" target=\"_blank\" rel=\"noopener\">San Jose Art Salon\u003c/a>, a group of creatives who meet regularly for collective inspiration. And every month, she returns to \u003ca href=\"https://www.facebook.com/Arte.nella.Piazza/?fref=ts\">Arte nella Piazza\u003c/a>, an art bazaar in San Jose’s Little Italy neighborhood.\u003c/p>\n\u003cp>\u003cstrong>Those that stayed behind\u003c/strong>\u003c/p>\n\u003cp>This exodus of artists is depressing for those left behind in the South Bay, too – even if they’re not about to get priced out. At the art fair, Steve Borelli has his own table set up near Atreya’s with his abstract drawings available for sale.\u003c/p>\n\u003cp>“Every passing day, I feel I’m luckier,” Borelli says. Borelli bought a house years ago in Campbell, near San Jose. Borelli pays the mortgage with his salary as a graphic designer. But his true love is drawing – and his connection to the local artists’ community.\u003c/p>\n\u003cp>“I fear for the future,” Borelli says. “You know, if it keeps going the way that it is, eventually you’re going to see a mass migration out, and I just hope it never comes to that.”\u003c/p>\n\u003cfigure id=\"attachment_12042718\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12042718 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21098_13891871_1374119459282320_2980430368697866441_n-qut-400x533.jpg\" alt=\"Mia the cat gets interviewed at Erica Atreya's Folsom home.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21098_13891871_1374119459282320_2980430368697866441_n-qut-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21098_13891871_1374119459282320_2980430368697866441_n-qut-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21098_13891871_1374119459282320_2980430368697866441_n-qut.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mia the cat gets interviewed at Erica Atreya’s Folsom home. \u003ccite>(Photo: Courtesy of Erica Atreya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exodus is a function of the economy, says Matthew Mahood, president and CEO of the \u003ca href=\"https://www.sjchamber.com/\" target=\"_blank\" rel=\"noopener\">San Jose Silicon Valley Chamber of Commerce\u003c/a>.\u003c/p>\n\u003cp>The loss of school teachers and firefighters might seem to be a more pressing concern for San Jose than the flight of artists. But Mahood says quality of life is equally essential for the region to thrive going forward. “In order to attract and keep a quality workforce, you have to have arts and entertainment,” Mahood says. “Those things where people want to call this home.”\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> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11975397/priced-out-artist-moves-to-folsom-leaves-heart-in-san-jose",
"authors": [
"251"
],
"categories": [
"arts_1",
"arts_235",
"arts_70"
],
"tags": [
"arts_1037",
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_11980464",
"label": "arts"
},
"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"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=news": {
"isFetching": false,
"latestQuery": {
"from": 2760,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3759,
"relation": "eq"
},
"items": [
"arts_12053920",
"arts_12046480",
"arts_11975397",
"arts_12041924",
"news_11081142",
"arts_12037700",
"arts_12041518",
"arts_12036897",
"forum_2010101856577",
"arts_12038287",
"arts_12027462",
"arts_12033678"
],
"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_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_1037": {
"type": "terms",
"id": "arts_1037",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1037",
"found": true
},
"relationships": {},
"featImg": null,
"name": "audio",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "audio Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1054,
"slug": "audio",
"isLoading": false,
"link": "/arts/tag/audio"
},
"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_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_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_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_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_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_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_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_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_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": {},
"name": "Forum",
"slug": "forum",
"taxonomy": "program",
"description": "\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.\r\n\r\nAt 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>.",
"featImg": null,
"headData": {
"title": "Forum - Forum",
"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.",
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3,
"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"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}