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
}
}
},
"pop_22480": {
"type": "attachments",
"id": "pop_22480",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "22480",
"found": true
},
"parent": 22477,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/04/800px-Tax_The_Rich-_mural_by_Megan_Wilson_on_Clarion_Alley_San_Francisco-800x576.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/04/800px-Tax_The_Rich-_mural_by_Megan_Wilson_on_Clarion_Alley_San_Francisco-e1460746719283-400x244.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 244
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/04/800px-Tax_The_Rich-_mural_by_Megan_Wilson_on_Clarion_Alley_San_Francisco-e1460746719283-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/04/800px-Tax_The_Rich-_mural_by_Megan_Wilson_on_Clarion_Alley_San_Francisco-e1460746719283.jpg",
"width": 800,
"height": 488
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/04/800px-Tax_The_Rich-_mural_by_Megan_Wilson_on_Clarion_Alley_San_Francisco-e1460746719283-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/04/800px-Tax_The_Rich-_mural_by_Megan_Wilson_on_Clarion_Alley_San_Francisco-e1460746719283-800x488.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 488
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/04/800px-Tax_The_Rich-_mural_by_Megan_Wilson_on_Clarion_Alley_San_Francisco-e1460746719283-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/04/800px-Tax_The_Rich-_mural_by_Megan_Wilson_on_Clarion_Alley_San_Francisco-e1460746719283-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/04/800px-Tax_The_Rich-_mural_by_Megan_Wilson_on_Clarion_Alley_San_Francisco-e1460746719283-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/04/800px-Tax_The_Rich-_mural_by_Megan_Wilson_on_Clarion_Alley_San_Francisco-e1460746719283-768x468.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 468
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/04/800px-Tax_The_Rich-_mural_by_Megan_Wilson_on_Clarion_Alley_San_Francisco-e1460746719283-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460746629,
"modified": 1460746755,
"caption": "A mural by Megan Wilson, on Clarion Alley in SF. ",
"description": "A mural by Megan Wilson, on Clarion Alley in SF. ",
"title": "800px--Tax_The_Rich-_mural_by_Megan_Wilson_on_Clarion_Alley_San_Francisco",
"credit": "Wikimedia Commons",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11496991": {
"type": "attachments",
"id": "arts_11496991",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11496991",
"found": true
},
"parent": 11496747,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19165_Case15wallGIS_800px-qut-400x226.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 226
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19165_Case15wallGIS_800px-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19165_Case15wallGIS_800px-qut.jpg",
"width": 800,
"height": 452
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19165_Case15wallGIS_800px-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19165_Case15wallGIS_800px-qut-800x452.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 452
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19165_Case15wallGIS_800px-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19165_Case15wallGIS_800px-qut-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19165_Case15wallGIS_800px-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19165_Case15wallGIS_800px-qut-768x434.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 434
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19165_Case15wallGIS_800px-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460752701,
"modified": 1460752716,
"caption": "These maps of San Francisco show how the city grew from 1853 to 2015. They're of varying sizes and scales, but when digitized, they can be \"geo-referenced\" against Google Earth and then easily compared.",
"description": "These maps of San Francisco show how the city grew from 1853 to 2015. They're of varying sizes and scales, but when digitized, they can be \"geo-referenced\" against Google Earth and then easily compared.",
"title": "RS19165_Case15wallGIS_800px-qut",
"credit": "Photo: Courtesy of The David Rumsey Map Center",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11488080": {
"type": "attachments",
"id": "arts_11488080",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11488080",
"found": true
},
"parent": 11488076,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Grapes4-e1460496023493-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Grapes4-e1460496023493-400x224.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 224
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Grapes4-e1460496023493-960x538.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 538
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Grapes4-e1460496023493-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Grapes4-e1460496023493.jpg",
"width": 3887,
"height": 2177
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Grapes4-e1460496023493-1180x661.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 661
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Grapes4-e1460496023493-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Grapes4-e1460496023493-800x448.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 448
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Grapes4-e1460496023493-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Grapes4-e1460496023493-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Grapes4-e1460496023493-1920x1075.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1075
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Grapes4-e1460496023493-1180x661.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 661
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Grapes4-e1460496023493-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Grapes4-e1460496023493-768x430.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 430
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Grapes4-e1460496023493-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460495797,
"modified": 1460499188,
"caption": "William Hartfield as Tom Joad in Unbuntu Theater Project's 'The Grapes of Wrath.' ",
"description": "William Hartfield as Tom Joad in Unbuntu Theater Project's 'The Grapes of Wrath.' ",
"title": "Grapes4",
"credit": "Photo: Courtesy of Ubuntu Theater Project",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11494797": {
"type": "attachments",
"id": "arts_11494797",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11494797",
"found": true
},
"parent": 11494671,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19152_12896366_10156679837495207_1080592260_o-qut-800x576.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19152_12896366_10156679837495207_1080592260_o-qut-400x301.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 301
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19152_12896366_10156679837495207_1080592260_o-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19152_12896366_10156679837495207_1080592260_o-qut.jpg",
"width": 800,
"height": 602
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19152_12896366_10156679837495207_1080592260_o-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19152_12896366_10156679837495207_1080592260_o-qut-797x600.jpg",
"width": 797,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19152_12896366_10156679837495207_1080592260_o-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19152_12896366_10156679837495207_1080592260_o-qut-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19152_12896366_10156679837495207_1080592260_o-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19152_12896366_10156679837495207_1080592260_o-qut-768x578.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 578
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19152_12896366_10156679837495207_1080592260_o-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460688985,
"modified": 1460692766,
"caption": "The \"Tsar Bell\" was one of the largest bells ever cast. But it broke. What would it sound like? That's a provocative question for scientists.",
"description": "The \"Tsar Bell\" was one of the largest bells ever cast. But it broke. What would it sound like? That's a provocative question for scientists.",
"title": "RS19152_12896366_10156679837495207_1080592260_o-qut",
"credit": "Photo: Courtesy of Olya Dubatova",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11494265": {
"type": "attachments",
"id": "arts_11494265",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11494265",
"found": true
},
"parent": 11494264,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/gettyimages-507992160_wide-e38496e32260ec3d0193976d98ea73ead30880b2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/gettyimages-507992160_wide-e38496e32260ec3d0193976d98ea73ead30880b2-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/gettyimages-507992160_wide-e38496e32260ec3d0193976d98ea73ead30880b2-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/gettyimages-507992160_wide-e38496e32260ec3d0193976d98ea73ead30880b2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/gettyimages-507992160_wide-e38496e32260ec3d0193976d98ea73ead30880b2.jpg",
"width": 3595,
"height": 2022
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/gettyimages-507992160_wide-e38496e32260ec3d0193976d98ea73ead30880b2-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/gettyimages-507992160_wide-e38496e32260ec3d0193976d98ea73ead30880b2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/gettyimages-507992160_wide-e38496e32260ec3d0193976d98ea73ead30880b2-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/gettyimages-507992160_wide-e38496e32260ec3d0193976d98ea73ead30880b2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/gettyimages-507992160_wide-e38496e32260ec3d0193976d98ea73ead30880b2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/gettyimages-507992160_wide-e38496e32260ec3d0193976d98ea73ead30880b2-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/gettyimages-507992160_wide-e38496e32260ec3d0193976d98ea73ead30880b2-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/gettyimages-507992160_wide-e38496e32260ec3d0193976d98ea73ead30880b2-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/gettyimages-507992160_wide-e38496e32260ec3d0193976d98ea73ead30880b2-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/gettyimages-507992160_wide-e38496e32260ec3d0193976d98ea73ead30880b2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460673729,
"modified": 1460676191,
"caption": "Civil rights leaders, including Dr. Martin Luther King, Jr., sing \"We Shall Overcome\" at the conclusion of the Selma to Montgomery civil rights march in 1965.",
"description": "Civil rights leaders, including Dr. Martin Luther King, Jr., sing \"We Shall Overcome\" at the conclusion of the Selma to Montgomery civil rights march in 1965.",
"title": "Civil rights leaders, including Dr. Martin Luther King, Jr., sing \"We Shall Overcome\" at the conclusion of the Selma to Montgomery civil rights march in 1965.",
"credit": "Photo: Stephen F. Somerstein/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11493762": {
"type": "attachments",
"id": "arts_11493762",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11493762",
"found": true
},
"parent": 11493760,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Paige-Rogers_Dan-Lockwood-e1460660804326-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Paige-Rogers_Dan-Lockwood-e1460660804326-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Paige-Rogers_Dan-Lockwood-e1460660804326-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Paige-Rogers_Dan-Lockwood-e1460660804326-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Paige-Rogers_Dan-Lockwood-e1460660804326.jpg",
"width": 1848,
"height": 1039
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Paige-Rogers_Dan-Lockwood-e1460660804326-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Paige-Rogers_Dan-Lockwood-e1460660804326-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Paige-Rogers_Dan-Lockwood-e1460660804326-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Paige-Rogers_Dan-Lockwood-e1460660804326-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Paige-Rogers_Dan-Lockwood-e1460660804326-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Paige-Rogers_Dan-Lockwood-1920x1503.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1503
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Paige-Rogers_Dan-Lockwood-e1460660804326-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Paige-Rogers_Dan-Lockwood-e1460660804326-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Paige-Rogers_Dan-Lockwood-e1460660804326-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Paige-Rogers_Dan-Lockwood-e1460660804326-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460659593,
"modified": 1460660828,
"caption": "Cutting Ball Theater's new Artistic Director Paige Rogers",
"description": "Cutting Ball Theater's new Artistic Director Paige Rogers",
"title": "Cutting Ball Theater's new Artistic Director Paige Rogers",
"credit": "Photo: Dan Lockwood",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11493639": {
"type": "attachments",
"id": "arts_11493639",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11493639",
"found": true
},
"parent": 11483009,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Oakland-Ballet.-Alysia-Chang-lifted-in-Divining.-Photo-by-John-Hefti-e1460656991671-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Oakland-Ballet.-Alysia-Chang-lifted-in-Divining.-Photo-by-John-Hefti-e1460656991671-400x231.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 231
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Oakland-Ballet.-Alysia-Chang-lifted-in-Divining.-Photo-by-John-Hefti-e1460656991671-960x553.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 553
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Oakland-Ballet.-Alysia-Chang-lifted-in-Divining.-Photo-by-John-Hefti-e1460656991671-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Oakland-Ballet.-Alysia-Chang-lifted-in-Divining.-Photo-by-John-Hefti-e1460656991671.jpg",
"width": 4424,
"height": 2550
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Oakland-Ballet.-Alysia-Chang-lifted-in-Divining.-Photo-by-John-Hefti-e1460656991671-1180x680.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 680
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Oakland-Ballet.-Alysia-Chang-lifted-in-Divining.-Photo-by-John-Hefti-e1460656991671-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Oakland-Ballet.-Alysia-Chang-lifted-in-Divining.-Photo-by-John-Hefti-e1460656991671-800x461.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 461
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Oakland-Ballet.-Alysia-Chang-lifted-in-Divining.-Photo-by-John-Hefti-e1460656991671-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Oakland-Ballet.-Alysia-Chang-lifted-in-Divining.-Photo-by-John-Hefti-e1460656991671-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Oakland-Ballet.-Alysia-Chang-lifted-in-Divining.-Photo-by-John-Hefti-e1460656991671-1920x1107.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1107
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Oakland-Ballet.-Alysia-Chang-lifted-in-Divining.-Photo-by-John-Hefti-e1460656991671-1180x680.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 680
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Oakland-Ballet.-Alysia-Chang-lifted-in-Divining.-Photo-by-John-Hefti-e1460656991671-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Oakland-Ballet.-Alysia-Chang-lifted-in-Divining.-Photo-by-John-Hefti-e1460656991671-768x443.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 443
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Oakland-Ballet.-Alysia-Chang-lifted-in-Divining.-Photo-by-John-Hefti-e1460656991671-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460656866,
"modified": 1460656965,
"caption": "A scene from Oakland Ballet’s ‘Divining,’ part of a new program combining dancing with live vocal music",
"description": "A scene from Oakland Ballet’s ‘Divining,’ part of a new program combining dancing with live vocal music",
"title": "Oakland Ballet. Alysia Chang lifted in Divining. Photo by John Hefti",
"credit": "Photo: John Hefti/Oakland Ballet",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11485242": {
"type": "attachments",
"id": "arts_11485242",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11485242",
"found": true
},
"parent": 11485238,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19098_CommunityQuiltHighRes-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19098_CommunityQuiltHighRes-qut-400x241.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 241
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19098_CommunityQuiltHighRes-qut-960x578.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 578
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19098_CommunityQuiltHighRes-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19098_CommunityQuiltHighRes-qut.jpg",
"width": 1920,
"height": 1156
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19098_CommunityQuiltHighRes-qut-1180x710.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 710
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19098_CommunityQuiltHighRes-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19098_CommunityQuiltHighRes-qut-800x482.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 482
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19098_CommunityQuiltHighRes-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19098_CommunityQuiltHighRes-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19098_CommunityQuiltHighRes-qut-1920x1156.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1156
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19098_CommunityQuiltHighRes-qut-1180x710.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 710
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19098_CommunityQuiltHighRes-qut-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19098_CommunityQuiltHighRes-qut-768x462.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 462
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/RS19098_CommunityQuiltHighRes-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460412494,
"modified": 1460502660,
"caption": "A collective quilt created by East Palo Alto locals with the help of Linda Gass, who served as an artist in residence at Cooley Landing.",
"description": "A collective quilt created by East Palo Alto locals with the help of Linda Gass, who served as an artist in residence at Cooley Landing.",
"title": "RS19098_CommunityQuiltHighRes-qut",
"credit": "Photo: Courtesy of Palo Alto Art Center",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11491303": {
"type": "attachments",
"id": "arts_11491303",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11491303",
"found": true
},
"parent": 11491048,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Jack-Hammer-400x210.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 210
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Jack-Hammer-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Jack-Hammer.jpg",
"width": 800,
"height": 419
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Jack-Hammer-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Jack-Hammer-800x419.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 419
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Jack-Hammer-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Jack-Hammer-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Jack-Hammer-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Jack-Hammer-768x402.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 402
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Jack-Hammer-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460587051,
"modified": 1460587411,
"caption": "Earl Solomon Burroughs AKA Jack Hammer in Hollywood",
"description": "Earl Solomon Burroughs AKA Jack Hammer in Hollywood",
"title": "Jack Hammer",
"credit": "Photo: Courtesy of Facebook",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11490915": {
"type": "attachments",
"id": "arts_11490915",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11490915",
"found": true
},
"parent": 11490782,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Steph-Curry-GrizzliesMEME-924x576.jpg",
"width": 924,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Steph-Curry-GrizzliesMEME-400x272.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 272
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Steph-Curry-GrizzliesMEME-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Steph-Curry-GrizzliesMEME.jpg",
"width": 924,
"height": 628
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Steph-Curry-GrizzliesMEME-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Steph-Curry-GrizzliesMEME-800x544.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 544
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Steph-Curry-GrizzliesMEME-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Steph-Curry-GrizzliesMEME-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Steph-Curry-GrizzliesMEME-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Steph-Curry-GrizzliesMEME-768x522.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 522
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Steph-Curry-GrizzliesMEME-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460577026,
"modified": 1460577183,
"caption": "Stephen Curry of the Golden State Warriors saves the ball from going out of bounds ",
"description": "Stephen Curry of the Golden State Warriors saves the ball from going out of bounds ",
"title": "Memphis Grizzlies v Golden State Warriors",
"credit": "Photo: Ezra Shaw/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11488334": {
"type": "attachments",
"id": "arts_11488334",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11488334",
"found": true
},
"parent": 11487954,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Snyder-2016-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Snyder-2016-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Snyder-2016.jpg",
"width": 809,
"height": 455
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Snyder-2016-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Snyder-2016-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Snyder-2016-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Snyder-2016-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Snyder-2016-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Snyder-2016-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/Snyder-2016-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460500616,
"modified": 1460508139,
"caption": "Julie Snyder",
"description": "Julie Snyder",
"title": "Snyder-2016",
"credit": "Photo: Courtesy of Barclay Agency",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11484966": {
"type": "attachments",
"id": "arts_11484966",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11484966",
"found": true
},
"parent": 11484965,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ARTS-DEAD-RECKONING-WEB-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ARTS-DEAD-RECKONING-WEB-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ARTS-DEAD-RECKONING-WEB-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ARTS-DEAD-RECKONING-WEB-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ARTS-DEAD-RECKONING-WEB.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ARTS-DEAD-RECKONING-WEB-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ARTS-DEAD-RECKONING-WEB-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ARTS-DEAD-RECKONING-WEB-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ARTS-DEAD-RECKONING-WEB-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ARTS-DEAD-RECKONING-WEB-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ARTS-DEAD-RECKONING-WEB-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ARTS-DEAD-RECKONING-WEB-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ARTS-DEAD-RECKONING-WEB-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ARTS-DEAD-RECKONING-WEB-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/04/ARTS-DEAD-RECKONING-WEB-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460403806,
"modified": 1460408579,
"caption": "Natasha Adorlee Johnson on stage during a performance of Dead Reckoning in March. ",
"description": null,
"title": "ARTS DEAD RECKONING WEB",
"credit": "Blake McHugh/KQED Arts",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_11494264": {
"type": "authors",
"id": "byline_arts_11494264",
"meta": {
"override": true
},
"slug": "byline_arts_11494264",
"name": "Elizabeth Blair",
"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"
},
"sheraz-sadiq": {
"type": "authors",
"id": "6176",
"meta": {
"index": "authors_1716337520",
"id": "6176",
"found": true
},
"name": "Sheraz Sadiq",
"firstName": "Sheraz",
"lastName": "Sadiq",
"slug": "sheraz-sadiq",
"email": "ssadiq@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Sheraz Sadiq is an Emmy Award-winning producer at San Francisco PBS affiliate KQED. In 2012, he received the AAAS Kavli Science Journalism award for a story he produced about the seismic retrofit of the Hetch Hetchy water delivery system which serves the San Francisco Bay Area. In addition to producing television content for KQED Science, he has also created online features and written news articles on scientific subjects ranging from astronomy to synthetic biology.",
"avatar": "https://secure.gravatar.com/avatar/9731b29e144af1965b0b7eaa56555561?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": []
},
{
"site": "futureofyou",
"roles": []
},
{
"site": "science",
"roles": []
},
{
"site": "quest",
"roles": [
"leadcoordinator"
]
}
],
"headData": {
"title": "Sheraz Sadiq | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/9731b29e144af1965b0b7eaa56555561?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/9731b29e144af1965b0b7eaa56555561?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/sheraz-sadiq"
},
"esilvers": {
"type": "authors",
"id": "7237",
"meta": {
"index": "authors_1716337520",
"id": "7237",
"found": true
},
"name": "Emma Silvers",
"firstName": "Emma",
"lastName": "Silvers",
"slug": "esilvers",
"email": "esilvers@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Emma Silvers is an editor at KQED Arts and a former digital producer at KQED News. Born and raised in the Bay Area, she has previously been an arts and entertainment editor at the \u003cem>San Francisco Chronicle\u003c/em>, \u003cem>SF Weekly\u003c/em> and the \u003cem>San Francisco Bay Guardian.\u003c/em> \u003ca href=\"https://www.emmasilvers.com\">Her work\u003c/a> has also appeared in \u003cem>Rolling Stone\u003c/em>, Pitchfork and \u003cem>Mother Jones\u003c/em>. In 2017 she was the recipient of the Society of Professional Journalists-Northern California's award for arts and culture reporting. In 1993 she \u003ca href=\"https://www.kqed.org/pop/16759/wait-what-my-coworker-was-a-voice-over-hyperventilator-for-jurassic-park\">hyperventilated in \u003cem>Jurassic Park\u003c/em>\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twitter": "emmaruthless",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"contributor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Emma Silvers | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/esilvers"
},
"jwilkins": {
"type": "authors",
"id": "8668",
"meta": {
"index": "authors_1716337520",
"id": "8668",
"found": true
},
"name": "John Wilkins",
"firstName": "John",
"lastName": "Wilkins",
"slug": "jwilkins",
"email": "Johnrwilkins@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "John Wilkins is the theater critic for KQED Arts. He was the Artistic Director of Last Planet Theatre for ten years and teaches in the Writing and Literature program at CCA. Follow him on Twitter @johnrwilkins2",
"avatar": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "John Wilkins | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jwilkins"
},
"cescoda": {
"type": "authors",
"id": "11206",
"meta": {
"index": "authors_1716337520",
"id": "11206",
"found": true
},
"name": "Carla Escoda",
"firstName": "Carla",
"lastName": "Escoda",
"slug": "cescoda",
"email": "ballettothepeople@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Carla can most often be found in theatres, airports and on airplanes, writing about dance and the arts for various websites whenever she can find wi-fi. Her blog Ballet to the People<\u003ca href=\"http://ballettothepeople.com/\" target=\"_blank\" rel=\"noreferrer\">http://\u003cwbr />ballettothepeople.com\u003c/a>> has become a street corner where dance-lovers enjoy loitering and plotting the revolution which will renew the populist roots of ballet.\r\n\u003cspan class=\"im\">\r\nIn her previous lives, Carla worked in scientific research, then in project finance in Asia. Prior to that, she trained as a ballet and modern dancer, and performed with the Yaledancers while getting her undergraduate degrees in Engineering and Applied Science and French Literature, and her graduate degree in Engineering.\u003c/span>",
"avatar": "https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
}
],
"headData": {
"title": "Carla Escoda | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cescoda"
}
},
"pagesReducer": {
"arts_category_news": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"score": 10.810295
},
"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": 254
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=news",
"seeMore": false,
"paginated": true,
"page": 254
}
},
{
"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": "/"
}
},
"pop_22477": {
"type": "posts",
"id": "pop_22477",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "22477",
"score": null,
"sort": [
1460746949000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1460746949,
"format": "standard",
"disqusTitle": "10 Songs To Get You Through Tax Day",
"title": "10 Songs To Get You Through Tax Day",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>It's Friday, April 15, and across these great United States, that loud thump you're hearing is the sound of hard-working Americans' foreheads hitting their desks in the universal sign for \"\u003cem>Goddammit, THIS AGAIN.\" \u003c/em>\u003c/p>\n\u003cp>If you're one of those virtuous people who filed their forms weeks or even months ago, congratulations. How lovely for you. Pat yourself on the back. Now get outta here.\u003c/p>\n\u003cp>I'm talking to my people: the dawdlers, the heel-draggers, the last-minute panickers. The good news is that, because of a Washington, D.C. holiday called \u003ca href=\"http://www.cbsnews.com/news/why-the-2016-personal-tax-deadline-was-moved-to-april-18/\" target=\"_blank\">Emancipation Day\u003c/a>, the Internal Revenue Service is actually \u003cem>closed\u003c/em> on April 15, so your taxes aren't due until next Monday, April 18. We love you, Emancipation Day. We'd never heard of you before, but we love you.\u003c/p>\n\u003cp>With this in mind -- the fact that you have the entire, glorious weekend to sift through insurance forms and bank statements and scrutinize thousands of tiny numbered boxes and ponder questions like \"Could my income from my last job technically be considered wages earned as an inmate?\" while you could be taking a beautiful hike outside or belting Whitney Houston at karaoke or sharing a meal with your loved ones -- here are a handful of tax- and empty bank account-themed tunes to keep you company as you toil.\u003c/p>\n\u003cp>Pro tip: You can't claim cats as dependents. I checked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://play.spotify.com/user/esilvers/playlist/2hJinOxCAPs2hBgJiHeaLc\u003c/p>\n\u003cp>And if these haven't exactly lifted your spirits: This beautifully stupid cover of Snoop Dogg's \"Sensual Seduction\" -- featuring a pre-\u003cem>Key and Peele\u003c/em> Keegan-Michael Key on \u003cem>Mad TV -- \u003c/em>oughta do the trick.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gVi7GOGOF3s\u003c/p>\n\u003cp>Otherwise? Can't help ya. But onward and upward. Maybe this is year we'll learn to save some receipts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"disqusIdentifier": "22477 http://ww2.kqed.org/pop/?p=22477",
"disqusUrl": "https://ww2.kqed.org/pop/2016/04/15/10-songs-to-get-you-through-tax-day/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 315,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1460748981,
"excerpt": "Tax man taking all your dough? Here's a playlist that commiserates with you. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Tax man taking all your dough? Here's a playlist that commiserates with you. ",
"title": "10 Songs To Get You Through Tax Day | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "10 Songs To Get You Through Tax Day",
"datePublished": "2016-04-15T12:02:29-07:00",
"dateModified": "2016-04-15T12:36:21-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "10-songs-to-get-you-through-tax-day",
"status": "publish",
"path": "/pop/22477/10-songs-to-get-you-through-tax-day",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's Friday, April 15, and across these great United States, that loud thump you're hearing is the sound of hard-working Americans' foreheads hitting their desks in the universal sign for \"\u003cem>Goddammit, THIS AGAIN.\" \u003c/em>\u003c/p>\n\u003cp>If you're one of those virtuous people who filed their forms weeks or even months ago, congratulations. How lovely for you. Pat yourself on the back. Now get outta here.\u003c/p>\n\u003cp>I'm talking to my people: the dawdlers, the heel-draggers, the last-minute panickers. The good news is that, because of a Washington, D.C. holiday called \u003ca href=\"http://www.cbsnews.com/news/why-the-2016-personal-tax-deadline-was-moved-to-april-18/\" target=\"_blank\">Emancipation Day\u003c/a>, the Internal Revenue Service is actually \u003cem>closed\u003c/em> on April 15, so your taxes aren't due until next Monday, April 18. We love you, Emancipation Day. We'd never heard of you before, but we love you.\u003c/p>\n\u003cp>With this in mind -- the fact that you have the entire, glorious weekend to sift through insurance forms and bank statements and scrutinize thousands of tiny numbered boxes and ponder questions like \"Could my income from my last job technically be considered wages earned as an inmate?\" while you could be taking a beautiful hike outside or belting Whitney Houston at karaoke or sharing a meal with your loved ones -- here are a handful of tax- and empty bank account-themed tunes to keep you company as you toil.\u003c/p>\n\u003cp>Pro tip: You can't claim cats as dependents. I checked.\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>https://play.spotify.com/user/esilvers/playlist/2hJinOxCAPs2hBgJiHeaLc\u003c/p>\n\u003cp>And if these haven't exactly lifted your spirits: This beautifully stupid cover of Snoop Dogg's \"Sensual Seduction\" -- featuring a pre-\u003cem>Key and Peele\u003c/em> Keegan-Michael Key on \u003cem>Mad TV -- \u003c/em>oughta do the trick.\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/gVi7GOGOF3s'\n title='//www.youtube.com/embed/gVi7GOGOF3s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Otherwise? Can't help ya. But onward and upward. Maybe this is year we'll learn to save some receipts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/22477/10-songs-to-get-you-through-tax-day",
"authors": [
"7237"
],
"categories": [
"pop_4",
"pop_1536",
"pop_1041"
],
"tags": [
"pop_1051",
"pop_2843"
],
"featImg": "pop_22480",
"label": "pop"
},
"arts_11496747": {
"type": "posts",
"id": "arts_11496747",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11496747",
"score": null,
"sort": [
1460759290000
]
},
"guestAuthors": [],
"slug": "stanfords-new-map-center-lets-you-get-up-close-personal",
"title": "Stanford's New Map Center Lets You Get Up Close & Personal",
"publishDate": 1460759290,
"format": "standard",
"headTitle": "Stanford’s New Map Center Lets You Get Up Close & Personal | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>One of the largest map collections in the country is about to open at Stanford. \u003ca href=\"http://rumseymapcenter.stanford.edu\" target=\"_blank\" rel=\"noopener noreferrer\">The David Rumsey Map Center \u003c/a>is not just big in size, with more than 150,000 items, including rare first editions. It’s also accessible world-wide because many of the maps have been digitized; more than 67,000 items.\u003c/p>\n\u003cp>Retired real estate developer David Rumsey has been obsessed with maps since he was a small boy, and he’s been collecting for more than three decades. “I like modern maps, I like old maps,” Rumsey says. “I just find them fascinating. They’re art. They’re science. They’re history. All of those things.”\u003c/p>\n\u003cp>Rumsey has donated his entire collection to Stanford. It includes atlases, wall maps, globes, maritime charts, and even children’s maps made for school assignments. Highlights include a 19th century Jain cosmological diagram hand-painted on cloth, a leather-bound book considered to be the first true world atlas, \u003cem>\u003ca href=\"http://bit.ly/23BAHaS\" target=\"_blank\" rel=\"noopener noreferrer\">Theatrum Orbis Terrarum\u003c/a>\u003c/em>\u003cem> \u003c/em>\u003cem>(1570),\u003c/em> and a map from the first published edition of \u003cem>Meriwether Lewis and William Clark’s Account of the Expedition\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11496990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11496990\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-800x374.jpg\" alt=\"A Map of Lewis and Clark's Track, Across the Western Portion of North America From the Mississippi to the Pacific Ocean (1814). The map was copied by Samuel Lewis from William Clark's original drawing, and was engraved by Samuel Harrison.\" width=\"800\" height=\"374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-800x374.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-400x187.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-768x359.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-1180x552.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-960x449.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Map of Lewis and Clark’s Track, Across the Western Portion of North America From the Mississippi to the Pacific Ocean (1814). The map was copied by Samuel Lewis from William Clark’s original drawing, and was engraved by Samuel Harrison. \u003ccite>(Photo: Courtesy of The David Rumsey Map Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other map collections are represented at the center, including Glen McLaughlin’s \u003cem>\u003ca href=\"https://exhibits.stanford.edu/california-as-an-island\" target=\"_blank\" rel=\"noopener noreferrer\">California as an Island\u003c/a>\u003c/em>, which tells the story of a \u003ca href=\"http://ww2.kqed.org/news/2013/04/01/when-california-was-an-island\" target=\"_blank\" rel=\"noopener noreferrer\">long-cherished misconception\u003c/a> about California held by European map makers when the New World was still largely\u003cem> terra incognita \u003c/em>to them\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Rumsey says he picked Stanford over other potential libraries because he didn’t want his maps locked away in dusty archives.\u003cstrong> \u003c/strong>“In the past, these kinds of collections were more about preservation, which is good, very admirable,” Rumsey says. “But we would like to change that paradigm.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Digital revolution makes collections more accessible \u003c/strong>\u003c/p>\n\u003cp>A growing number of major map repositories have signed onto what’s known as the \u003ca href=\"http://iiif.io/\" target=\"_blank\" rel=\"noopener noreferrer\">International Image Interoperability Framework\u003c/a>. It’s a system that enables participating institutions to share their collections using compatible software to deliver high resolution images to anyone who asks. As a result of this development, curators everywhere can more easily put together exhibitions without having to physically bring artifacts to their museums. “It doesn’t matter where the actual image is,” says G. Salim Mohammed, the curator who heads the David Rumsey Map Center. “It could be in Europe. It could be in Africa. It could be anywhere there is Internet access.”\u003c/p>\n\u003cp>In addition to curators, the system stands to benefit scholars, school children, environmentalists, artists, and other groups.\u003c/p>\n\u003cp>“Maps in physical form are beautiful, but they’re hard to work with,” says Rumsey. “In digital form, they’re light as a feather.”\u003c/p>\n\u003cp>\u003cstrong>That Said, You Really Should Visit Stanford\u003c/strong>\u003c/p>\n\u003cp>So why go to Green Library, the physical building where the Center is located? For one thing, you’ll want to see the inaugural exhibition, \u003cem>\u003ca href=\"https://exhibits.stanford.edu/david-rumsey-map-collection/feature/a-universe-of-maps-opening-the-david-rumsey-map-center\" target=\"_blank\" rel=\"noopener noreferrer\">A Universe of Maps\u003c/a>\u003c/em> in the Peterson Gallery on the library’s second floor. Massive printouts of the digitized maps from the collection are on the walls, including in the rotunda and in the stairwells. They’re even etched onto the glass doors at the entrance of the center. The sharpness of the detail is stunning. It may take you an hour to make your way into the center itself.\u003c/p>\n\u003cp>Once there, two floor-to-ceiling computer screens immediately capture your attention. One is a 12 x 7′ touch screen, for those big and small who’ve learned to relate to visual images through an iPad. The other screen is 16 x 9′. “These are basically screen savers that we commissioned from \u003ca href=\"http://stamen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stamen Design\u003c/a> in San Francisco,” Rumsey jokes, just before he shows what you can do with them.\u003c/p>\n\u003cfigure id=\"attachment_11496992\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11496992\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-750x600.jpg\" alt=\"Plan de Turgota map of Paris (1739). This copy was printed from the original plates in approximately 1860.\" width=\"750\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-960x768.jpg 960w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Plan de Turgota map of Paris (1739). This copy was printed from the original plates in approximately 1860. \u003ccite>(Photo: Courtesy of The David Rumsey Map Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not that you can’t zoom in and out, cross fade between maps, and do side-by-side comparisons on your laptop at home. But on a giant screen, you can zoom in to see incredible detail that often goes completely unnoticed when you’re looking at a map as a whole.\u003c/p>\n\u003cp>Rumsey pulls up \u003ca href=\"http://www.davidrumsey.com/luna/servlet/detail/RUMSEY~8~1~287244~90059510:Composite--Paris--Plan-de-Turgot?sort=Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No?&qvq=q:paris;sort:Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No;lc:RUMSEY~8~1&mi=0&trs=7605\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Plan de Turgot\u003c/em>\u003c/a>, a map of Paris from 1739. “It’s 20 sheets in a book, but we knitted them altogether into one gigantic image,” Rumsey says. On Rumsey’s big screen, you can see a huge amount of detail. “You see all the piles of wood?” Rumsey says. “That’s the heating source for Paris in 1739.” Rumsey clicks around, to show how wood is making its way from outside the city to homes inside. “The man that made this map had permission from the king to go into all the back yards,” Rumsey says. “So he has the gardens. It’s just an extraordinary cultural record. Maps are just like books. They’re filled with all kinds of stories to tell.”\u003c/p>\n\u003cfigure id=\"attachment_11497112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11497112 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-800x600.jpg\" alt=\"David Rumsey stands in front of a map from 1733 superimposed over Google Earth. Wouldn't you like to run a search for viewing on a 16 x 9' computer screen?\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Rumsey stands in front of a map from 1733 superimposed over Google Earth. Wouldn’t you like to run a search for viewing on a 16 x 9′ computer screen? \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The David Rumsey Map Center opens for special events Tuesday, Apr. 19. It opens to the public Tuesday, Apr. 25. More info \u003ca href=\"https://events.stanford.edu/events/587/58753/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The David Rumsey Map Center is not just big in size, with more than 150,000 items. It also lets you see the world in amazing detail",
"status": "publish",
"parent": 0,
"modified": 1726771198,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 1001
},
"headData": {
"title": "Stanford's New Map Center Lets You Get Up Close & Personal | KQED",
"description": "The David Rumsey Map Center is not just big in size, with more than 150,000 items. It also lets you see the world in amazing detail",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Stanford's New Map Center Lets You Get Up Close & Personal",
"datePublished": "2016-04-15T15:28:10-07:00",
"dateModified": "2024-09-19T11:39:58-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"excludeFromSiteSearch": "Include",
"path": "/arts/11496747/stanfords-new-map-center-lets-you-get-up-close-personal",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the largest map collections in the country is about to open at Stanford. \u003ca href=\"http://rumseymapcenter.stanford.edu\" target=\"_blank\" rel=\"noopener noreferrer\">The David Rumsey Map Center \u003c/a>is not just big in size, with more than 150,000 items, including rare first editions. It’s also accessible world-wide because many of the maps have been digitized; more than 67,000 items.\u003c/p>\n\u003cp>Retired real estate developer David Rumsey has been obsessed with maps since he was a small boy, and he’s been collecting for more than three decades. “I like modern maps, I like old maps,” Rumsey says. “I just find them fascinating. They’re art. They’re science. They’re history. All of those things.”\u003c/p>\n\u003cp>Rumsey has donated his entire collection to Stanford. It includes atlases, wall maps, globes, maritime charts, and even children’s maps made for school assignments. Highlights include a 19th century Jain cosmological diagram hand-painted on cloth, a leather-bound book considered to be the first true world atlas, \u003cem>\u003ca href=\"http://bit.ly/23BAHaS\" target=\"_blank\" rel=\"noopener noreferrer\">Theatrum Orbis Terrarum\u003c/a>\u003c/em>\u003cem> \u003c/em>\u003cem>(1570),\u003c/em> and a map from the first published edition of \u003cem>Meriwether Lewis and William Clark’s Account of the Expedition\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11496990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11496990\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-800x374.jpg\" alt=\"A Map of Lewis and Clark's Track, Across the Western Portion of North America From the Mississippi to the Pacific Ocean (1814). The map was copied by Samuel Lewis from William Clark's original drawing, and was engraved by Samuel Harrison.\" width=\"800\" height=\"374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-800x374.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-400x187.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-768x359.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-1180x552.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-960x449.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Map of Lewis and Clark’s Track, Across the Western Portion of North America From the Mississippi to the Pacific Ocean (1814). The map was copied by Samuel Lewis from William Clark’s original drawing, and was engraved by Samuel Harrison. \u003ccite>(Photo: Courtesy of The David Rumsey Map Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other map collections are represented at the center, including Glen McLaughlin’s \u003cem>\u003ca href=\"https://exhibits.stanford.edu/california-as-an-island\" target=\"_blank\" rel=\"noopener noreferrer\">California as an Island\u003c/a>\u003c/em>, which tells the story of a \u003ca href=\"http://ww2.kqed.org/news/2013/04/01/when-california-was-an-island\" target=\"_blank\" rel=\"noopener noreferrer\">long-cherished misconception\u003c/a> about California held by European map makers when the New World was still largely\u003cem> terra incognita \u003c/em>to them\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Rumsey says he picked Stanford over other potential libraries because he didn’t want his maps locked away in dusty archives.\u003cstrong> \u003c/strong>“In the past, these kinds of collections were more about preservation, which is good, very admirable,” Rumsey says. “But we would like to change that paradigm.”\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>\u003cstrong>Digital revolution makes collections more accessible \u003c/strong>\u003c/p>\n\u003cp>A growing number of major map repositories have signed onto what’s known as the \u003ca href=\"http://iiif.io/\" target=\"_blank\" rel=\"noopener noreferrer\">International Image Interoperability Framework\u003c/a>. It’s a system that enables participating institutions to share their collections using compatible software to deliver high resolution images to anyone who asks. As a result of this development, curators everywhere can more easily put together exhibitions without having to physically bring artifacts to their museums. “It doesn’t matter where the actual image is,” says G. Salim Mohammed, the curator who heads the David Rumsey Map Center. “It could be in Europe. It could be in Africa. It could be anywhere there is Internet access.”\u003c/p>\n\u003cp>In addition to curators, the system stands to benefit scholars, school children, environmentalists, artists, and other groups.\u003c/p>\n\u003cp>“Maps in physical form are beautiful, but they’re hard to work with,” says Rumsey. “In digital form, they’re light as a feather.”\u003c/p>\n\u003cp>\u003cstrong>That Said, You Really Should Visit Stanford\u003c/strong>\u003c/p>\n\u003cp>So why go to Green Library, the physical building where the Center is located? For one thing, you’ll want to see the inaugural exhibition, \u003cem>\u003ca href=\"https://exhibits.stanford.edu/david-rumsey-map-collection/feature/a-universe-of-maps-opening-the-david-rumsey-map-center\" target=\"_blank\" rel=\"noopener noreferrer\">A Universe of Maps\u003c/a>\u003c/em> in the Peterson Gallery on the library’s second floor. Massive printouts of the digitized maps from the collection are on the walls, including in the rotunda and in the stairwells. They’re even etched onto the glass doors at the entrance of the center. The sharpness of the detail is stunning. It may take you an hour to make your way into the center itself.\u003c/p>\n\u003cp>Once there, two floor-to-ceiling computer screens immediately capture your attention. One is a 12 x 7′ touch screen, for those big and small who’ve learned to relate to visual images through an iPad. The other screen is 16 x 9′. “These are basically screen savers that we commissioned from \u003ca href=\"http://stamen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stamen Design\u003c/a> in San Francisco,” Rumsey jokes, just before he shows what you can do with them.\u003c/p>\n\u003cfigure id=\"attachment_11496992\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11496992\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-750x600.jpg\" alt=\"Plan de Turgota map of Paris (1739). This copy was printed from the original plates in approximately 1860.\" width=\"750\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-960x768.jpg 960w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Plan de Turgota map of Paris (1739). This copy was printed from the original plates in approximately 1860. \u003ccite>(Photo: Courtesy of The David Rumsey Map Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not that you can’t zoom in and out, cross fade between maps, and do side-by-side comparisons on your laptop at home. But on a giant screen, you can zoom in to see incredible detail that often goes completely unnoticed when you’re looking at a map as a whole.\u003c/p>\n\u003cp>Rumsey pulls up \u003ca href=\"http://www.davidrumsey.com/luna/servlet/detail/RUMSEY~8~1~287244~90059510:Composite--Paris--Plan-de-Turgot?sort=Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No?&qvq=q:paris;sort:Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No;lc:RUMSEY~8~1&mi=0&trs=7605\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Plan de Turgot\u003c/em>\u003c/a>, a map of Paris from 1739. “It’s 20 sheets in a book, but we knitted them altogether into one gigantic image,” Rumsey says. On Rumsey’s big screen, you can see a huge amount of detail. “You see all the piles of wood?” Rumsey says. “That’s the heating source for Paris in 1739.” Rumsey clicks around, to show how wood is making its way from outside the city to homes inside. “The man that made this map had permission from the king to go into all the back yards,” Rumsey says. “So he has the gardens. It’s just an extraordinary cultural record. Maps are just like books. They’re filled with all kinds of stories to tell.”\u003c/p>\n\u003cfigure id=\"attachment_11497112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11497112 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-800x600.jpg\" alt=\"David Rumsey stands in front of a map from 1733 superimposed over Google Earth. Wouldn't you like to run a search for viewing on a 16 x 9' computer screen?\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Rumsey stands in front of a map from 1733 superimposed over Google Earth. Wouldn’t you like to run a search for viewing on a 16 x 9′ computer screen? \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The David Rumsey Map Center opens for special events Tuesday, Apr. 19. It opens to the public Tuesday, Apr. 25. More info \u003ca href=\"https://events.stanford.edu/events/587/58753/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11496747/stanfords-new-map-center-lets-you-get-up-close-personal",
"authors": [
"251"
],
"programs": [
"arts_140"
],
"categories": [
"arts_73",
"arts_235",
"arts_70"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_11496991",
"label": "arts_140"
},
"arts_11488076": {
"type": "posts",
"id": "arts_11488076",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11488076",
"score": null,
"sort": [
1460746812000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1460746812,
"format": "standard",
"title": "Ubuntu Theater's 'The Grapes of Wrath' is Sure-Footed, Despite Missteps",
"headTitle": "Ubuntu Theater’s ‘The Grapes of Wrath’ is Sure-Footed, Despite Missteps | KQED",
"content": "\u003cp>Artistic vision is a tricky thing. It has almost nothing to do with money, or skill, or talent, or anything that you can properly quantify. Like pornography — to borrow Judge John M. Woolsey’s famous defense of James Joyce’s \u003cem>Ulysses — \u003c/em>you know it when you see it. And where artistic vision might be difficult to get a hold of or define, it’s impossible not to see its transformative effects on everything it touches.\u003c/p>\n\u003cp>This puts us in a quandary in looking at \u003ca href=\"http://ubuntutheaterproject\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a>’s production of Frank Galati’s stage adaption of John Steinbeck’s \u003cem>The Grapes of Wrath\u003c/em>. It is at moments an amazing production, and yet it falters and sputters too many times to be fully successful. It has a vision of the theater and the world that’s admirable and sharp. You feel it build in momentum during the long and involving first act, and lose focus and purpose during the more conventionally dramatic second.\u003c/p>\n\u003cp>Ubuntu specializes in site-specific performance, and even though the company’s production of \u003cem>The Grapes of Wrath\u003c/em> isn’t staged on a road or in a farm encampment, there is something about Oakland City Church’s cavernous basement/gymnasium that rings true to the material.\u003c/p>\n\u003cp>At first the set seems no more than random bits of wood and industrial trashcans that you might find scattered around any busy and overtaxed church. Then some actors wander out and gather around a metal can that emits a warm glow of orange light. You know the scene — it’s stood for poverty and desolation in countless plays and movies. And yet here in this church, at this time of great economic disparity and disruption, the normally hackneyed visual image becomes compelling.\u003c/p>\n\u003cp>Off to the side you hear voices singing a hymn. And from a pair of visibly obvious speakers mounted on either end of the stage, there are sound effects — wind, rain, and a sense of vast emptiness (if the last can be captured in sound). The soundscape lends the production an immediate realism that, when you think about it, isn’t realistic at all. The sounds serve to isolate and focus our attention in subtle, simple, and sophisticated ways.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The large, 25-strong ensemble keeps things focused. There’s no overacting, only well-defined actions — wandering, gathering around a fire, singing. This is especially true during the first act, when the supporting and bit players are exemplary in their ability to carry out a vision of a world lost to a vicious and state-sanctioned poverty.\u003c/p>\n\u003cfigure id=\"attachment_11488199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488199\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Grapes6-800x533.jpg\" alt=\"Francisco as Noah Joad in Unbutu Theater Project's 'The Grapes of Wrath.' Photo: Courtesy of the Company.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francisco as Noah Joad in Unbutu Theater Project’s ‘The Grapes of Wrath.’ (Photo: Courtesy of Ubuntu Theater Project)\u003c/figcaption>\u003c/figure>\n\u003cp>When we finally get to Steinbeck’s story of the Joad family’s journey from dust bowl Oklahoma to the seeming promised land of California, we’re in some ways ready for the terrors that await them. The initial meeting between the newly paroled Tom Joad (William Hartfield) and the fallen minister Jim Casey (William Thomas Hodgson) is notable for its absence of staginess. Hartfield and Hodgson — both excellent — give their lines in an almost perfunctory manner. And because of that we pay attention to the moment, even in its seeming insignificance.\u003c/p>\n\u003cp>Unlike most large cast productions, you don’t just focus on the leads, but all the roles — even the smallest. There’s an astounding exchange between a gas station owner (Timothy Redmond) and his attendant (Rolanda Bell) that is essentially a debate over whether the Joads are human or not. Without straining at all, Redmond and Bell engage in a chilling off-handed conversation that captures how easy it is to miss the humanity of the poor — “them goddamn Okies got no sense and no feeling. They ain’t human.”\u003c/p>\n\u003cp>The first act is filled with such moments — a chorus of used car salesmen; a corrupt campground proprietor; a man returning from California to Oklahoma with too much knowledge to seem sane; agricultural inspectors so disarmed by how sick the Joads are that they forget to do their jobs. These aren’t afterthoughts or filler, but rather the heart of the drama. And director Michael Socrates Moran and the Ubuntu team make it all work by closely matching actor to role, prop to function, and their vision to their resources.\u003c/p>\n\u003cp>After the intermission, though, the production starts to strain and the high level of theatrical invention falls to the wayside. It’s partly that Galati’s adaptation becomes more conventionally dramatic and starts to require more standard notions of skill and talent. Ubuntu is so good at using what’s at hand that it’s disappointing when they start to try to approximate and account for a style ill-suited to their strengths.\u003c/p>\n\u003cp>When the Joads get to California and find themselves in something close to a refugee settlement, you can feel the production faltering in its desire to fully represent that world. At this point, the production becomes more presentational and static. In the previous act Ubuntu casts a spell with little means. In the second act, the production starts to feel like an approximation — those fences aren’t real, that rain is merely a set of chains, that fight is incompletely staged. The acting — so assured in the first act — starts to reach for effect.\u003c/p>\n\u003cfigure id=\"attachment_11488198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-800x414.jpg\" alt=\"Christine Jamlig as Rose of Sharon in The Ubuntu Theater's production of 'The Grapes of Wrath.' Photo: Courtesy of the company.\" width=\"800\" height=\"414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-800x414.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-400x207.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-768x397.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-1180x610.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-1920x993.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-960x497.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christine Jamlig as Rose of Sharon in The Ubuntu Theater’s production of ‘The Grapes of Wrath.’ (Photo: Courtesy of Ubuntu Theater Project)\u003c/figcaption>\u003c/figure>\n\u003cp>So what we have is a vision of the theater and the world that although incomplete is bracingly present. You can feel it touch every part of the material and it’s exciting. The fact that it’s not fully carried through is a criticism, but one couched in real admiration for what Ubuntu has accomplished and attempted. The company’s failures feel more alive than many other theatrical “successes.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">The Grapes of Wrath\u003c/a>\u003c/em> plays until Sunday, May. 1 at Oakland City Church in Oakland. For information and tickets go www.ubuntutheaterproject.com.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1063,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705044568,
"excerpt": "The ever-inventive Oakland company's staging of Frank Galati's adaptation of the famous John Steinbeck novel feels focused and true, especially in the first half",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The ever-inventive Oakland company's staging of Frank Galati's adaptation of the famous John Steinbeck novel feels focused and true, especially in the first half",
"title": "Ubuntu Theater's 'The Grapes of Wrath' is Sure-Footed, Despite Missteps | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ubuntu Theater's 'The Grapes of Wrath' is Sure-Footed, Despite Missteps",
"datePublished": "2016-04-15T12:00:12-07:00",
"dateModified": "2024-01-11T23:29:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ubuntu-theaters-the-grapes-of-wrath-is-sure-footed-despite-missteps",
"status": "publish",
"sticky": false,
"path": "/arts/11488076/ubuntu-theaters-the-grapes-of-wrath-is-sure-footed-despite-missteps",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artistic vision is a tricky thing. It has almost nothing to do with money, or skill, or talent, or anything that you can properly quantify. Like pornography — to borrow Judge John M. Woolsey’s famous defense of James Joyce’s \u003cem>Ulysses — \u003c/em>you know it when you see it. And where artistic vision might be difficult to get a hold of or define, it’s impossible not to see its transformative effects on everything it touches.\u003c/p>\n\u003cp>This puts us in a quandary in looking at \u003ca href=\"http://ubuntutheaterproject\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a>’s production of Frank Galati’s stage adaption of John Steinbeck’s \u003cem>The Grapes of Wrath\u003c/em>. It is at moments an amazing production, and yet it falters and sputters too many times to be fully successful. It has a vision of the theater and the world that’s admirable and sharp. You feel it build in momentum during the long and involving first act, and lose focus and purpose during the more conventionally dramatic second.\u003c/p>\n\u003cp>Ubuntu specializes in site-specific performance, and even though the company’s production of \u003cem>The Grapes of Wrath\u003c/em> isn’t staged on a road or in a farm encampment, there is something about Oakland City Church’s cavernous basement/gymnasium that rings true to the material.\u003c/p>\n\u003cp>At first the set seems no more than random bits of wood and industrial trashcans that you might find scattered around any busy and overtaxed church. Then some actors wander out and gather around a metal can that emits a warm glow of orange light. You know the scene — it’s stood for poverty and desolation in countless plays and movies. And yet here in this church, at this time of great economic disparity and disruption, the normally hackneyed visual image becomes compelling.\u003c/p>\n\u003cp>Off to the side you hear voices singing a hymn. And from a pair of visibly obvious speakers mounted on either end of the stage, there are sound effects — wind, rain, and a sense of vast emptiness (if the last can be captured in sound). The soundscape lends the production an immediate realism that, when you think about it, isn’t realistic at all. The sounds serve to isolate and focus our attention in subtle, simple, and sophisticated ways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The large, 25-strong ensemble keeps things focused. There’s no overacting, only well-defined actions — wandering, gathering around a fire, singing. This is especially true during the first act, when the supporting and bit players are exemplary in their ability to carry out a vision of a world lost to a vicious and state-sanctioned poverty.\u003c/p>\n\u003cfigure id=\"attachment_11488199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488199\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Grapes6-800x533.jpg\" alt=\"Francisco as Noah Joad in Unbutu Theater Project's 'The Grapes of Wrath.' Photo: Courtesy of the Company.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Grapes6-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francisco as Noah Joad in Unbutu Theater Project’s ‘The Grapes of Wrath.’ (Photo: Courtesy of Ubuntu Theater Project)\u003c/figcaption>\u003c/figure>\n\u003cp>When we finally get to Steinbeck’s story of the Joad family’s journey from dust bowl Oklahoma to the seeming promised land of California, we’re in some ways ready for the terrors that await them. The initial meeting between the newly paroled Tom Joad (William Hartfield) and the fallen minister Jim Casey (William Thomas Hodgson) is notable for its absence of staginess. Hartfield and Hodgson — both excellent — give their lines in an almost perfunctory manner. And because of that we pay attention to the moment, even in its seeming insignificance.\u003c/p>\n\u003cp>Unlike most large cast productions, you don’t just focus on the leads, but all the roles — even the smallest. There’s an astounding exchange between a gas station owner (Timothy Redmond) and his attendant (Rolanda Bell) that is essentially a debate over whether the Joads are human or not. Without straining at all, Redmond and Bell engage in a chilling off-handed conversation that captures how easy it is to miss the humanity of the poor — “them goddamn Okies got no sense and no feeling. They ain’t human.”\u003c/p>\n\u003cp>The first act is filled with such moments — a chorus of used car salesmen; a corrupt campground proprietor; a man returning from California to Oklahoma with too much knowledge to seem sane; agricultural inspectors so disarmed by how sick the Joads are that they forget to do their jobs. These aren’t afterthoughts or filler, but rather the heart of the drama. And director Michael Socrates Moran and the Ubuntu team make it all work by closely matching actor to role, prop to function, and their vision to their resources.\u003c/p>\n\u003cp>After the intermission, though, the production starts to strain and the high level of theatrical invention falls to the wayside. It’s partly that Galati’s adaptation becomes more conventionally dramatic and starts to require more standard notions of skill and talent. Ubuntu is so good at using what’s at hand that it’s disappointing when they start to try to approximate and account for a style ill-suited to their strengths.\u003c/p>\n\u003cp>When the Joads get to California and find themselves in something close to a refugee settlement, you can feel the production faltering in its desire to fully represent that world. At this point, the production becomes more presentational and static. In the previous act Ubuntu casts a spell with little means. In the second act, the production starts to feel like an approximation — those fences aren’t real, that rain is merely a set of chains, that fight is incompletely staged. The acting — so assured in the first act — starts to reach for effect.\u003c/p>\n\u003cfigure id=\"attachment_11488198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-800x414.jpg\" alt=\"Christine Jamlig as Rose of Sharon in The Ubuntu Theater's production of 'The Grapes of Wrath.' Photo: Courtesy of the company.\" width=\"800\" height=\"414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-800x414.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-400x207.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-768x397.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-1180x610.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-1920x993.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/grapes3-e1460496365109-960x497.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christine Jamlig as Rose of Sharon in The Ubuntu Theater’s production of ‘The Grapes of Wrath.’ (Photo: Courtesy of Ubuntu Theater Project)\u003c/figcaption>\u003c/figure>\n\u003cp>So what we have is a vision of the theater and the world that although incomplete is bracingly present. You can feel it touch every part of the material and it’s exciting. The fact that it’s not fully carried through is a criticism, but one couched in real admiration for what Ubuntu has accomplished and attempted. The company’s failures feel more alive than many other theatrical “successes.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">The Grapes of Wrath\u003c/a>\u003c/em> plays until Sunday, May. 1 at Oakland City Church in Oakland. For information and tickets go www.ubuntutheaterproject.com.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11488076/ubuntu-theaters-the-grapes-of-wrath-is-sure-footed-despite-missteps",
"authors": [
"8668"
],
"programs": [
"arts_140"
],
"categories": [
"arts_235",
"arts_967"
],
"featImg": "arts_11488080",
"label": "arts_140"
},
"arts_11494671": {
"type": "posts",
"id": "arts_11494671",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11494671",
"score": null,
"sort": [
1460735050000
]
},
"guestAuthors": [],
"slug": "what-does-a-200-ton-bell-sound-like",
"title": "What Does a 200-Ton Bell Sound Like?",
"publishDate": 1460735050,
"format": "standard",
"headTitle": "What Does a 200-Ton Bell Sound Like? | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>What does a 200-ton bell sound like? It’s an academic question, as the only accessible bell of that size broke beyond repair shortly after manufacture in 1732 in Russia.\u003c/p>\n\u003cp>The Tsar Bell captured the imagination of a \u003ca href=\"http://www.tsarbell.com/\" target=\"_blank\" rel=\"noopener\">team of researchers\u003c/a> at UC Berkeley and Stanford, and they’ve come up with a computer simulation they’re going to blast from Berkeley’s Sather Tower today.\u003c/p>\n\u003cfigure id=\"attachment_11494919\" class=\"wp-caption alignright\" style=\"max-width: 259px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11494919 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_1344.jpg\" alt=\"That bell won't ring.\" width=\"259\" height=\"195\">\u003cfigcaption class=\"wp-caption-text\">That bell won’t ring. \u003ccite>(Photo: Courtesy of Olya Dubatova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally commissioned by Empress Anna Ivanovna, niece of Peter the Great, the Tsar Bell never actually rang. A major fire broke out in the Kremlin before the bell’s debut, and when guards threw cold water on the bell to save it, a huge slab broke off, putting a quick end to the Tsar Bell’s career before it began. The bell is still on display at the Kremlin, where tourists marvel and wonder: what would something that size have sounded like?\u003c/p>\n\u003cp>\u003cstrong>Anyone’s guess\u003c/strong>\u003c/p>\n\u003cp>One of the scientists tackling that question is Professor \u003ca href=\"http://chrischafe.net/\" target=\"_blank\" rel=\"noopener\">Chris Chafe\u003c/a>, who heads the \u003ca href=\"https://ccrma.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Center for Computer Research in Music and Acoustics\u003c/a> at Stanford. “First off, it’s a difficult problem, because you don’t have any ground truth,” Chafe says. “We don’t know what it sounded like. So in a sense, we’re creating a fantasy, but we’re doing it as accurately as possible.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is the result, so far.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/259143399″ 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>Just to be clear: this is not the sound of the actual Tsar Bell. It’s a digital simulation of what the bell might have sounded like.\u003c/p>\n\u003cp>\u003cstrong>Adventures in sound\u003c/strong>\u003c/p>\n\u003cp>Chafe and a group of like-minded scientists, musicians and artists have been playing with sound for several years now. In 2013, they riffed on climate change with a project called \u003ca href=\"http://maldivespavilion.com/blog/maldives-pavilion-artists/greg-niemeyer-in-collaboration-with-chris-chafe-and-perrin-meyer/\" target=\"_blank\" rel=\"noopener\">Polar Tide\u003c/a>, performed at the Venice Biennale. The sound art installation involved computer simulations of bells that dropped in tone as an imaginary water level around them rose. In 2014, the team created software that allowed members of the public to \u003ca href=\"https://vimeo.com/116580641\" target=\"_blank\" rel=\"noopener\">dictate the sounds\u003c/a> coming out of Hoover Tower Carillon at Stanford.\u003c/p>\n\u003cp>The scientists in the group began their exploration of the Tsar Bell by playing with small pieces of metal and then small bells. “We’re using techniques which come from mechanical and civil engineering,” Chafe says. “You design computer models of large things and you stress them, or you bang on them and you see how they vibrate.” Hit a bell and it vibrates in the air. These “deformations” create sound.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=i1I4cam6aIg]\u003c/p>\n\u003cp>The “sound” is a set of partial frequencies. “So we have a list of the potential frequencies that this big, old bell would have produced had it ever been rung intact,” Chafe says. “We take that list and then we use a computer synthesis program to then recreate that sound that was found in the analysis, but do it in real time as a computer music instrument.”\u003c/p>\n\u003cp>Eventually, Chafe and his colleagues drew a model of the Tsar Bell on the computer, and subjected it to conjectural analysis. Chafe says the team got advice from an expert in bell acoustics. The expert thought the team was employing way too many partial tones in the simulation. “So we weeded those out,” Chafe says. “In fact, we went from almost 1,000 partial frequencies down to 61 in this version.”\u003c/p>\n\u003cp>\u003cstrong>An emotionally evocative exercise\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://olyadubatova.me/\" target=\"_blank\" rel=\"noopener\">Olya Dubatova\u003c/a> is the only Russian-born member on the team — and an artist. “It was incredibly powerful and moving for me,” Dubatova says, noting church bells have long held great symbolic value in Russian culture.\u003c/p>\n\u003cp>Dubatova recalls a \u003ca href=\"https://www.youtube.com/watch?v=RwCJoEJFW5g&feature=youtu.be&t=1h23m45s\" target=\"_blank\" rel=\"noopener\">climatic scene\u003c/a> in Andrei Tarkofsky’s masterpiece film \u003cem>Andrei Rublev\u003c/em>. In 16th century Russia, a young boy convinces the authorities he has the know-how to cast a giant bronze bell. Once it’s completed, the moment of truth arrives. In front of a doubtful crowd, including a group of sophisticates from Renaissance Italy, the young Russian proves himself, and by extension, his country. “The sound of the bell was the most important sound before the Soviet Union,” Dubatova says. “People really want to go back to tradition and restore that legacy.”\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The moment of truth for the Tsar Bell simulation\u003c/strong>\u003c/p>\n\u003cp>Team member \u003ca href=\"http://art.berkeley.edu/people/greg-niemeyer/\" target=\"_blank\" rel=\"noopener\">Greg Niemeyer\u003c/a>, director of the Berkeley Center for New Media, supervised the stereo system installation at Sather Tower ahead of the concerts. What kind of sound system can handle these deep, subsonic tones without distortion? A purpose-built set of 12 speakers from the Berkeley acoustics company \u003ca href=\"http://www.meyersound.com/\" target=\"_blank\" rel=\"noopener\">Meyer Sound\u003c/a>. “These are very big waves,” Niemeyer says. “These are very long waves. They need to pushed hard to sound good.”\u003c/p>\n\u003cp>Niemeyer expects people to be able to hear the “bell” throughout Berkeley. “We hope that it’s going to be an experience that takes people places where they don’t often go,” he says.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/260222963″ 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>In addition, the team members have come up with music inspired by their interaction with the Tsar Bell. Chafe is one of the three composers. The other two are \u003ca href=\"http://www.djspooky.com/\" target=\"_blank\" rel=\"noopener\">DJ Spooky\u003c/a> and \u003ca href=\"http://fortbragg1.wix.com/jeff-davis\" target=\"_blank\" rel=\"noopener\">Jeff Davis\u003c/a>, Cal’s chief bell ringer, or “carillonist.”\u003c/p>\n\u003cp>Chafe’s composition, \u003ci>June’s Ring,\u003c/i> follows in the same vein as a piece he did for ships horns performed in the harbor of St. John’s, Newfoundland. “These are big ships, and that’s a big harbor,” Chafe says. “It’s a different piece depending on where you are in the city. If you’re close to a big ice breaker on one end of the port, and far from a little tug boat, you hear one concert, and vice versa.\u003c/p>\n\u003cp>What’s next for the team? The Liberty Bell? Or, if size is the driver, the scientists and artists involved in this work could look for Burma’s \u003ca href=\"http://www.bbc.com/news/world-asia-28832296\" target=\"_blank\" rel=\"noopener\">Dhammazedi Bell\u003c/a>, said to be bigger than 300 tons. The 15th century monster is believed to be lying somewhere underwater in the Bago River.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>The Tsar Bell Carillon concert plays Friday, Apr. 15 and Saturday, Apr. 16 at noon and 7:45pm. There’s also a panel discussion, \u003cem>\u003ca href=\"http://calday.berkeley.edu/detail.php?eventID=4048\" target=\"_blank\" rel=\"noopener\">Recasting the Tsar Bell\u003c/a>\u003c/em>, Saturday, Apr. 16, at \u003c/strong>\u003cstrong>10am at \u003c/strong>\u003cstrong>310 Jacobs Hall on the UC Berkeley campus.\u003c/strong>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Scientists at Stanford and UC Berkeley are using software to imagine the ring of Russia's famous Tsar Bell, broken in the 18th century before it ever rang.",
"status": "publish",
"parent": 0,
"modified": 1726771200,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 27,
"wordCount": 1240
},
"headData": {
"title": "What Does a 200-Ton Bell Sound Like? | KQED",
"description": "Scientists at Stanford and UC Berkeley are using software to imagine the ring of Russia's famous Tsar Bell, broken in the 18th century before it ever rang.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What Does a 200-Ton Bell Sound Like?",
"datePublished": "2016-04-15T08:44:10-07:00",
"dateModified": "2024-09-19T11:40:00-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11494671/what-does-a-200-ton-bell-sound-like",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does a 200-ton bell sound like? It’s an academic question, as the only accessible bell of that size broke beyond repair shortly after manufacture in 1732 in Russia.\u003c/p>\n\u003cp>The Tsar Bell captured the imagination of a \u003ca href=\"http://www.tsarbell.com/\" target=\"_blank\" rel=\"noopener\">team of researchers\u003c/a> at UC Berkeley and Stanford, and they’ve come up with a computer simulation they’re going to blast from Berkeley’s Sather Tower today.\u003c/p>\n\u003cfigure id=\"attachment_11494919\" class=\"wp-caption alignright\" style=\"max-width: 259px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11494919 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/IMG_1344.jpg\" alt=\"That bell won't ring.\" width=\"259\" height=\"195\">\u003cfigcaption class=\"wp-caption-text\">That bell won’t ring. \u003ccite>(Photo: Courtesy of Olya Dubatova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally commissioned by Empress Anna Ivanovna, niece of Peter the Great, the Tsar Bell never actually rang. A major fire broke out in the Kremlin before the bell’s debut, and when guards threw cold water on the bell to save it, a huge slab broke off, putting a quick end to the Tsar Bell’s career before it began. The bell is still on display at the Kremlin, where tourists marvel and wonder: what would something that size have sounded like?\u003c/p>\n\u003cp>\u003cstrong>Anyone’s guess\u003c/strong>\u003c/p>\n\u003cp>One of the scientists tackling that question is Professor \u003ca href=\"http://chrischafe.net/\" target=\"_blank\" rel=\"noopener\">Chris Chafe\u003c/a>, who heads the \u003ca href=\"https://ccrma.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Center for Computer Research in Music and Acoustics\u003c/a> at Stanford. “First off, it’s a difficult problem, because you don’t have any ground truth,” Chafe says. “We don’t know what it sounded like. So in a sense, we’re creating a fantasy, but we’re doing it as accurately as possible.”\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>This is the result, so far.\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/259143399″&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/259143399″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Just to be clear: this is not the sound of the actual Tsar Bell. It’s a digital simulation of what the bell might have sounded like.\u003c/p>\n\u003cp>\u003cstrong>Adventures in sound\u003c/strong>\u003c/p>\n\u003cp>Chafe and a group of like-minded scientists, musicians and artists have been playing with sound for several years now. In 2013, they riffed on climate change with a project called \u003ca href=\"http://maldivespavilion.com/blog/maldives-pavilion-artists/greg-niemeyer-in-collaboration-with-chris-chafe-and-perrin-meyer/\" target=\"_blank\" rel=\"noopener\">Polar Tide\u003c/a>, performed at the Venice Biennale. The sound art installation involved computer simulations of bells that dropped in tone as an imaginary water level around them rose. In 2014, the team created software that allowed members of the public to \u003ca href=\"https://vimeo.com/116580641\" target=\"_blank\" rel=\"noopener\">dictate the sounds\u003c/a> coming out of Hoover Tower Carillon at Stanford.\u003c/p>\n\u003cp>The scientists in the group began their exploration of the Tsar Bell by playing with small pieces of metal and then small bells. “We’re using techniques which come from mechanical and civil engineering,” Chafe says. “You design computer models of large things and you stress them, or you bang on them and you see how they vibrate.” Hit a bell and it vibrates in the air. These “deformations” create sound.\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/i1I4cam6aIg'\n title='//www.youtube.com/embed/i1I4cam6aIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The “sound” is a set of partial frequencies. “So we have a list of the potential frequencies that this big, old bell would have produced had it ever been rung intact,” Chafe says. “We take that list and then we use a computer synthesis program to then recreate that sound that was found in the analysis, but do it in real time as a computer music instrument.”\u003c/p>\n\u003cp>Eventually, Chafe and his colleagues drew a model of the Tsar Bell on the computer, and subjected it to conjectural analysis. Chafe says the team got advice from an expert in bell acoustics. The expert thought the team was employing way too many partial tones in the simulation. “So we weeded those out,” Chafe says. “In fact, we went from almost 1,000 partial frequencies down to 61 in this version.”\u003c/p>\n\u003cp>\u003cstrong>An emotionally evocative exercise\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://olyadubatova.me/\" target=\"_blank\" rel=\"noopener\">Olya Dubatova\u003c/a> is the only Russian-born member on the team — and an artist. “It was incredibly powerful and moving for me,” Dubatova says, noting church bells have long held great symbolic value in Russian culture.\u003c/p>\n\u003cp>Dubatova recalls a \u003ca href=\"https://www.youtube.com/watch?v=RwCJoEJFW5g&feature=youtu.be&t=1h23m45s\" target=\"_blank\" rel=\"noopener\">climatic scene\u003c/a> in Andrei Tarkofsky’s masterpiece film \u003cem>Andrei Rublev\u003c/em>. In 16th century Russia, a young boy convinces the authorities he has the know-how to cast a giant bronze bell. Once it’s completed, the moment of truth arrives. In front of a doubtful crowd, including a group of sophisticates from Renaissance Italy, the young Russian proves himself, and by extension, his country. “The sound of the bell was the most important sound before the Soviet Union,” Dubatova says. “People really want to go back to tradition and restore that legacy.”\u003cem> \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The moment of truth for the Tsar Bell simulation\u003c/strong>\u003c/p>\n\u003cp>Team member \u003ca href=\"http://art.berkeley.edu/people/greg-niemeyer/\" target=\"_blank\" rel=\"noopener\">Greg Niemeyer\u003c/a>, director of the Berkeley Center for New Media, supervised the stereo system installation at Sather Tower ahead of the concerts. What kind of sound system can handle these deep, subsonic tones without distortion? A purpose-built set of 12 speakers from the Berkeley acoustics company \u003ca href=\"http://www.meyersound.com/\" target=\"_blank\" rel=\"noopener\">Meyer Sound\u003c/a>. “These are very big waves,” Niemeyer says. “These are very long waves. They need to pushed hard to sound good.”\u003c/p>\n\u003cp>Niemeyer expects people to be able to hear the “bell” throughout Berkeley. “We hope that it’s going to be an experience that takes people places where they don’t often go,” he says.\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/260222963″&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/260222963″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In addition, the team members have come up with music inspired by their interaction with the Tsar Bell. Chafe is one of the three composers. The other two are \u003ca href=\"http://www.djspooky.com/\" target=\"_blank\" rel=\"noopener\">DJ Spooky\u003c/a> and \u003ca href=\"http://fortbragg1.wix.com/jeff-davis\" target=\"_blank\" rel=\"noopener\">Jeff Davis\u003c/a>, Cal’s chief bell ringer, or “carillonist.”\u003c/p>\n\u003cp>Chafe’s composition, \u003ci>June’s Ring,\u003c/i> follows in the same vein as a piece he did for ships horns performed in the harbor of St. John’s, Newfoundland. “These are big ships, and that’s a big harbor,” Chafe says. “It’s a different piece depending on where you are in the city. If you’re close to a big ice breaker on one end of the port, and far from a little tug boat, you hear one concert, and vice versa.\u003c/p>\n\u003cp>What’s next for the team? The Liberty Bell? Or, if size is the driver, the scientists and artists involved in this work could look for Burma’s \u003ca href=\"http://www.bbc.com/news/world-asia-28832296\" target=\"_blank\" rel=\"noopener\">Dhammazedi Bell\u003c/a>, said to be bigger than 300 tons. The 15th century monster is believed to be lying somewhere underwater in the Bago River.\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>The Tsar Bell Carillon concert plays Friday, Apr. 15 and Saturday, Apr. 16 at noon and 7:45pm. There’s also a panel discussion, \u003cem>\u003ca href=\"http://calday.berkeley.edu/detail.php?eventID=4048\" target=\"_blank\" rel=\"noopener\">Recasting the Tsar Bell\u003c/a>\u003c/em>, Saturday, Apr. 16, at \u003c/strong>\u003cstrong>10am at \u003c/strong>\u003cstrong>310 Jacobs Hall on the UC Berkeley campus.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11494671/what-does-a-200-ton-bell-sound-like",
"authors": [
"251"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1037",
"arts_1119",
"arts_1118",
"arts_596",
"arts_973"
],
"featImg": "arts_11494797",
"label": "arts"
},
"arts_11494264": {
"type": "posts",
"id": "arts_11494264",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11494264",
"score": null,
"sort": [
1460675440000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1460675440,
"format": "standard",
"title": "Who Owns 'We Shall Overcome'? All of Us, a Lawsuit Claims",
"headTitle": "Who Owns ‘We Shall Overcome’? All of Us, a Lawsuit Claims | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/474120870/474120871\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>One of the most iconic songs of the civil rights movement is now the subject of a lawsuit.\u003c/p>\n\u003cp>The same law firm that recently \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/09/22/442694777/happy-birthday-to-us-all-judge-rules-tune-is-public-domain\" target=\"_blank\" rel=\"noopener\">succeeded in releasing\u003c/a> “Happy Birthday” from copyright rules is now hoping to do the same for “We Shall Overcome.” Filed Tuesday in New York federal court, \u003ca href=\"http://www.whafh.com/case/we-shall-overcome-foundation-v-the-richmond-organization-inc/\" target=\"_blank\" rel=\"noopener\">the suit\u003c/a> claims the song belongs in the public domain, and seeks a return of “unlawful licensing fees” from the publishers.\u003c/p>\n\u003cp>The lawsuit was filed on behalf of the \u003ca href=\"http://weshallovercomefoundation.org/\" target=\"_blank\" rel=\"noopener\">We Shall Overcome Foundation\u003c/a>, a non-profit lead by Isaias Gamboa. A few years ago, Gamboa wrote a book about the history of the song. Now, he’s working on a documentary based on his research. When he contacted the song’s publishers, “they actually prevented me from using the song in the film, which I wasn’t expecting,” he says.\u003c/p>\n\u003cp>Knowing the song’s origins, Gamboa says he couldn’t understand why “We Shall Overcome” would be copyrighted in the first place. “It was always a derivative work,” he says, “and was based on a spiritual from back in the day, as they say.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The song’s roots run deep. Slaves sang “I’ll Overcome” in the fields; striking workers sang “we will overcome” on the picket lines. It was an African-American spiritual. So how did the version we know today get copyrighted at all?\u003c/p>\n\u003cp>A little more history: In the 1940s, African-American tobacco workers sang a version of the song on the picket lines in South Carolina. They introduced the song at the Highlander Folk Center in Tennessee, a meeting place for black and white labor activists. Highlander’s music director, Zilphia Horton, introduced the song to \u003ca href=\"http://www.npr.org/artists/15869924/pete-seeger\" target=\"_blank\" rel=\"noopener\">Pete Seeger\u003c/a>, who helped turn it into an international protest anthem.\u003c/p>\n\u003cp>In the early 1960s, Ludlow Music registered “We Shall Overcome” as an “unpublished derivative work.” The plaintiff claims this copyright only covers some new verses and an arrangement, not the original melody and lyrics.\u003c/p>\n\u003cp>Ludlow’s copyright names four people, including Zilphia Horton and Pete Seeger. In a 1993 book, Seeger said he and the others only signed the copyright to protect its legacy. “In the early ’60s our publishers said to us, ‘If you don’t copyright this now, some Hollywood types will have a version out next year — like, ‘come on baby, we shall overcome tonight,'” Seeger wrote.\u003c/p>\n\u003cp>The defendants in the case, The Richmond Organization and Ludlow Music, declined to be interviewed. In a statement to NPR, they write the lawsuit “goes too far and attempts to nullify the contribution of these authors which brought into being the iconic song we know today.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The publishers also write that “100% of the writers’ royalties generated by ‘We Shall Overcome’ have gone to the ‘We Shall Overcome Fund’ operating in affiliation with the Highlander Folk School in Monteagle, Tennessee, supporting the Fund’s mission to nurture grassroots efforts within African American communities to use art and activism against injustice.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Who+Owns+%27We+Shall+Overcome%27%3F+All+Of+Us%2C+A+Lawsuit+Claims&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 552,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705044576,
"excerpt": "The same law firm that recently succeeded in releasing \"Happy Birthday\" from copyright rules is now hoping to do the same for the civil rights anthem.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The same law firm that recently succeeded in releasing "Happy Birthday" from copyright rules is now hoping to do the same for the civil rights anthem.",
"title": "Who Owns 'We Shall Overcome'? All of Us, a Lawsuit Claims | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Who Owns 'We Shall Overcome'? All of Us, a Lawsuit Claims",
"datePublished": "2016-04-14T16:10:40-07:00",
"dateModified": "2024-01-11T23:29:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "who-owns-we-shall-overcome-all-of-us-a-lawsuit-claims",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=474120870&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Wed, 13 Apr 2016 16:28:00 -0400",
"nprLastModifiedDate": "Thu, 14 Apr 2016 17:11:26 -0400",
"nprHtmlLink": "http://www.npr.org/2016/04/13/474120870/we-shall-overcome-foundation-wages-copyright-war-over-civil-rights-anthem?ft=nprml&f=474120870",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2016/04/20160413_atc_we_shall_overcome_foundation_wages_copyright_war_over_civil_rights_anthem.mp3?orgId=1&topicId=1070&d=161&p=2&story=474120870&t=progseg&e=474073190&seg=3&ft=nprml&f=474120870",
"nprImageAgency": "Getty Images",
"nprAudioM3u": "http://api.npr.org/m3u/1474120871-97f113.m3u?orgId=1&topicId=1070&d=161&p=2&story=474120870&t=progseg&e=474073190&seg=3&ft=nprml&f=474120870",
"nprStoryId": "474120870",
"nprByline": "Elizabeth Blair",
"sticky": false,
"nprImageCredit": "Stephen F. Somerstein",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 14 Apr 2016 17:11:00 -0400",
"path": "/arts/11494264/who-owns-we-shall-overcome-all-of-us-a-lawsuit-claims",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2016/04/20160413_atc_we_shall_overcome_foundation_wages_copyright_war_over_civil_rights_anthem.mp3?orgId=1&topicId=1070&d=161&p=2&story=474120870&t=progseg&e=474073190&seg=3&ft=nprml&f=474120870",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/474120870/474120871\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>One of the most iconic songs of the civil rights movement is now the subject of a lawsuit.\u003c/p>\n\u003cp>The same law firm that recently \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/09/22/442694777/happy-birthday-to-us-all-judge-rules-tune-is-public-domain\" target=\"_blank\" rel=\"noopener\">succeeded in releasing\u003c/a> “Happy Birthday” from copyright rules is now hoping to do the same for “We Shall Overcome.” Filed Tuesday in New York federal court, \u003ca href=\"http://www.whafh.com/case/we-shall-overcome-foundation-v-the-richmond-organization-inc/\" target=\"_blank\" rel=\"noopener\">the suit\u003c/a> claims the song belongs in the public domain, and seeks a return of “unlawful licensing fees” from the publishers.\u003c/p>\n\u003cp>The lawsuit was filed on behalf of the \u003ca href=\"http://weshallovercomefoundation.org/\" target=\"_blank\" rel=\"noopener\">We Shall Overcome Foundation\u003c/a>, a non-profit lead by Isaias Gamboa. A few years ago, Gamboa wrote a book about the history of the song. Now, he’s working on a documentary based on his research. When he contacted the song’s publishers, “they actually prevented me from using the song in the film, which I wasn’t expecting,” he says.\u003c/p>\n\u003cp>Knowing the song’s origins, Gamboa says he couldn’t understand why “We Shall Overcome” would be copyrighted in the first place. “It was always a derivative work,” he says, “and was based on a spiritual from back in the day, as they say.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The song’s roots run deep. Slaves sang “I’ll Overcome” in the fields; striking workers sang “we will overcome” on the picket lines. It was an African-American spiritual. So how did the version we know today get copyrighted at all?\u003c/p>\n\u003cp>A little more history: In the 1940s, African-American tobacco workers sang a version of the song on the picket lines in South Carolina. They introduced the song at the Highlander Folk Center in Tennessee, a meeting place for black and white labor activists. Highlander’s music director, Zilphia Horton, introduced the song to \u003ca href=\"http://www.npr.org/artists/15869924/pete-seeger\" target=\"_blank\" rel=\"noopener\">Pete Seeger\u003c/a>, who helped turn it into an international protest anthem.\u003c/p>\n\u003cp>In the early 1960s, Ludlow Music registered “We Shall Overcome” as an “unpublished derivative work.” The plaintiff claims this copyright only covers some new verses and an arrangement, not the original melody and lyrics.\u003c/p>\n\u003cp>Ludlow’s copyright names four people, including Zilphia Horton and Pete Seeger. In a 1993 book, Seeger said he and the others only signed the copyright to protect its legacy. “In the early ’60s our publishers said to us, ‘If you don’t copyright this now, some Hollywood types will have a version out next year — like, ‘come on baby, we shall overcome tonight,'” Seeger wrote.\u003c/p>\n\u003cp>The defendants in the case, The Richmond Organization and Ludlow Music, declined to be interviewed. In a statement to NPR, they write the lawsuit “goes too far and attempts to nullify the contribution of these authors which brought into being the iconic song we know today.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The publishers also write that “100% of the writers’ royalties generated by ‘We Shall Overcome’ have gone to the ‘We Shall Overcome Fund’ operating in affiliation with the Highlander Folk School in Monteagle, Tennessee, supporting the Fund’s mission to nurture grassroots efforts within African American communities to use art and activism against injustice.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Who+Owns+%27We+Shall+Overcome%27%3F+All+Of+Us%2C+A+Lawsuit+Claims&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11494264/who-owns-we-shall-overcome-all-of-us-a-lawsuit-claims",
"authors": [
"byline_arts_11494264"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1254",
"arts_1119",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11494265",
"label": "arts_137"
},
"arts_11493760": {
"type": "posts",
"id": "arts_11493760",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11493760",
"score": null,
"sort": [
1460661186000
]
},
"guestAuthors": [],
"slug": "new-boss-at-san-franciscos-cutting-ball-theater-is-a-familiar-face",
"title": "New Boss at San Francisco's Cutting Ball Theater Is a Familiar Face",
"publishDate": 1460661186,
"format": "standard",
"headTitle": "New Boss at San Francisco’s Cutting Ball Theater Is a Familiar Face | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>San Francisco’s \u003ca href=\"http://cuttingball.com/\" target=\"_blank\" rel=\"noopener\">Cutting Ball Theater \u003c/a>is getting a new artistic director, but she’ll be a familiar face for staff and audiences.\u003c/p>\n\u003cp>She is Cutting Ball’s co-founder \u003ca href=\"http://cuttingball.com/staff-artists/\" target=\"_blank\" rel=\"noopener\">Paige Rogers\u003c/a>, the wife of current Artistic Director \u003ca href=\"http://cuttingball.com/staff-artists/\" target=\"_blank\" rel=\"noopener\">Rob Melrose\u003c/a>, and acting artistic director during the past year, when Melrose was on a sabbatical.\u003c/p>\n\u003cp>“He was the boss at work, and the joke was I was the boss at home,” said Rogers about the change. “But as his national career took off, we needed someone in the office more. And in fact I’m a bossier person than he is, so it was just a natural transition.”\u003c/p>\n\u003cfigure id=\"attachment_11493763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11493763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-800x506.jpg\" alt=\"Rob Melrose, Founding Artistic Director for Cutting Ball Theater\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-1180x746.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-1920x1214.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-960x607.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rob Melrose, Founding Artistic Director for Cutting Ball Theater \u003ccite>(Photo: Deborah Blin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Melrose has been in demand as a freelance director with work at the Old Globe Theater in San Diego, the Public Theater in New York and other national venues. The change in duties, Rogers says, will give him more time to direct. Melrose will take become Cutting Ball’s founding artistic director and remain on the theater company’s board.\u003c/p>\n\u003cp>Rogers says she’s promising one big physical change at the theater’s intimate home at the \u003ca href=\"http://www.theexit.org/\" target=\"_blank\" rel=\"noopener\">Exit in the Tenderloin\u003c/a>. “Something our patrons have talked about a lot is that the theater gets very hot,” Rogers said, “because we use professional lighting in such a small space, and I just got a large amount of money in city grants to install air conditioning.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the artistic side, Rogers says she wants the company to focus more on radical visions for classic plays, and she promised we’ll see the evidence for that on April 19, when she announces the company’s 2016/2017 season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cutting Ball’s next show will be \u003ca href=\"http://cuttingball.com/productions/a-dreamplay-3/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Dreamplay\u003c/em>\u003c/a> by August Strindberg, in a new translation by \u003ca href=\"http://drama.yale.edu/facstaff/paul-walsh\" target=\"_blank\" rel=\"noopener\">Paul Walsh \u003c/a>and directed by Melrose.\u003c/p>\n\n",
"blocks": [],
"excerpt": "One of the theater's co-founders returns to take over as artistic director",
"status": "publish",
"parent": 0,
"modified": 1726771018,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 332
},
"headData": {
"title": "New Boss at San Francisco's Cutting Ball Theater Is a Familiar Face | KQED",
"description": "One of the theater's co-founders returns to take over as artistic director",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "New Boss at San Francisco's Cutting Ball Theater Is a Familiar Face",
"datePublished": "2016-04-14T12:13:06-07:00",
"dateModified": "2024-09-19T11:36:58-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11493760/new-boss-at-san-franciscos-cutting-ball-theater-is-a-familiar-face",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s \u003ca href=\"http://cuttingball.com/\" target=\"_blank\" rel=\"noopener\">Cutting Ball Theater \u003c/a>is getting a new artistic director, but she’ll be a familiar face for staff and audiences.\u003c/p>\n\u003cp>She is Cutting Ball’s co-founder \u003ca href=\"http://cuttingball.com/staff-artists/\" target=\"_blank\" rel=\"noopener\">Paige Rogers\u003c/a>, the wife of current Artistic Director \u003ca href=\"http://cuttingball.com/staff-artists/\" target=\"_blank\" rel=\"noopener\">Rob Melrose\u003c/a>, and acting artistic director during the past year, when Melrose was on a sabbatical.\u003c/p>\n\u003cp>“He was the boss at work, and the joke was I was the boss at home,” said Rogers about the change. “But as his national career took off, we needed someone in the office more. And in fact I’m a bossier person than he is, so it was just a natural transition.”\u003c/p>\n\u003cfigure id=\"attachment_11493763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11493763\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-800x506.jpg\" alt=\"Rob Melrose, Founding Artistic Director for Cutting Ball Theater\" width=\"800\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-1180x746.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-1920x1214.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Rob-Melrose-Headshot_Deborah-Blin-e1460659777716-960x607.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rob Melrose, Founding Artistic Director for Cutting Ball Theater \u003ccite>(Photo: Deborah Blin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Melrose has been in demand as a freelance director with work at the Old Globe Theater in San Diego, the Public Theater in New York and other national venues. The change in duties, Rogers says, will give him more time to direct. Melrose will take become Cutting Ball’s founding artistic director and remain on the theater company’s board.\u003c/p>\n\u003cp>Rogers says she’s promising one big physical change at the theater’s intimate home at the \u003ca href=\"http://www.theexit.org/\" target=\"_blank\" rel=\"noopener\">Exit in the Tenderloin\u003c/a>. “Something our patrons have talked about a lot is that the theater gets very hot,” Rogers said, “because we use professional lighting in such a small space, and I just got a large amount of money in city grants to install air conditioning.”\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>On the artistic side, Rogers says she wants the company to focus more on radical visions for classic plays, and she promised we’ll see the evidence for that on April 19, when she announces the company’s 2016/2017 season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cutting Ball’s next show will be \u003ca href=\"http://cuttingball.com/productions/a-dreamplay-3/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Dreamplay\u003c/em>\u003c/a> by August Strindberg, in a new translation by \u003ca href=\"http://drama.yale.edu/facstaff/paul-walsh\" target=\"_blank\" rel=\"noopener\">Paul Walsh \u003c/a>and directed by Melrose.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11493760/new-boss-at-san-franciscos-cutting-ball-theater-is-a-familiar-face",
"authors": [
"32"
],
"categories": [
"arts_1",
"arts_235",
"arts_967"
],
"tags": [
"arts_1254",
"arts_1119",
"arts_596"
],
"featImg": "arts_11493762",
"label": "arts"
},
"arts_11483009": {
"type": "posts",
"id": "arts_11483009",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11483009",
"score": null,
"sort": [
1460660434000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1460660434,
"format": "standard",
"title": "Oakland Ballet Excels with “Small Budget, Big Dreams” Philosophy",
"headTitle": "Oakland Ballet Excels with “Small Budget, Big Dreams” Philosophy | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">On a recent Wednesday, the Oakland Ballet studios came alive with movement and music. Choreographers Janice Garrett and Charles Moulton worked with three pairs of dancers to fine-tune a series of lifts that exploded with the intensity of a cannon blast to the unearthly sounds of medieval hymns, thrillingly spun by the women of the Oakland-based chamber vocal ensemble \u003c/span>\u003ca href=\"http://www.vajravoices.com/\">\u003cspan style=\"font-weight: 400\">Vajra Voices\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Choreographer Val Caniparoli hammered out tempi and phrasing for “Oh! Susanna,” “Beautiful Dreamer” and other 19\u003c/span>\u003cspan style=\"font-weight: 400\">th\u003c/span>\u003cspan style=\"font-weight: 400\"> century parlor songs by Stephen Foster together with another local choir, the \u003c/span>\u003ca href=\"http://bcco.org/chamber-singers\">\u003cspan style=\"font-weight: 400\">Berkeley Community Chamber Singers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And Nona Brown and her \u003c/span>\u003ca href=\"http://nonabrown.org/imc/\">\u003cspan style=\"font-weight: 400\">Inspirational Music Collective\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">’s rousing, modern arrangements of African American spirituals, set to choreography by Oakland Ballet’s artistic director Graham Lustig, capped the three-hour rehearsal for this triple bill of brand new work premiering Thursday, Apr. 14 in three different venues around the Bay.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11493631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11493631 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-800x457.jpg\" alt=\"Oakland Ballet's 'Stone of Hope' choreographed by Graham Lustig. \" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-960x549.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Ballet’s ‘Stone of Hope’ choreographed by Graham Lustig. \u003ccite>(Photo: John Hefti/Oakland Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In an age when ballet companies are either folding or recycling the tried and tested, Lustig has stepped boldly onto a precipice. Oakland Ballet’s \u003c/span>\u003ca href=\"http://oaklandballet.org/wp/performances/\">\u003ci>\u003cspan style=\"font-weight: 400\">A Cappella–Our Bodies Sing\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> continues to explore intriguing new collaborations with local artists and musicians, and to test these classically trained dancers’ versatility. But will it attract the recognition and loyal following that the company earned in its glory days?\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Then…and now\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some who followed Oakland Ballet in the 1980s and 90s mourn the loss of the distinctive appeal the company had under founder Ronn Guidi. In its glory days, Oakland Ballet was renowned for the scrupulous style and drama of its revivals of Diaghilev-era ballets like Nijinsky’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Afternoon of a Faun and \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Nijinska’s\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Les Noces,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and for championing mid-20\u003c/span>\u003cspan style=\"font-weight: 400\">th\u003c/span>\u003cspan style=\"font-weight: 400\"> century icons of American dance and music such as Eugene Loring’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Billy the Kid\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and Agnes de Mille’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Fall River Legend\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, with close to 30 dancers in the big Diaghilev revivals and budgets of over $2 million in the mid-1990s, Oakland Ballet then had more than twice the resources that Lustig has today — 12 dancers, with an additional 10 hired for \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and a $740,000 operating budget. (The comparatively modest budget, is up 15 percent on last year, though.) \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11493635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11493635\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-800x493.jpg\" alt=\"Coral Martin center in Oakland Ballet's 'Beautiful Dreamer'\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-1920x1184.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-960x592.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Coral Martin center in Oakland Ballet’s ‘Beautiful Dreamer’ \u003ccite>(Photo: John Hefti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now in his seventh season at the helm of the company, Lustig appears to have navigated past the rockiest financial shoals, though funding constraints have kept seasons grievously short. He has commissioned imaginative new work from Bay Area choreographers including Amy Seiwert, Robert Moses and Sonya Delwaide. Meanwhile, his integration of ballet dancers with the hip-hop collective Turf Feinz crew and the wheelchair-bound dancers of AXIS Dance have helped to galvanize new audiences around ballet.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Heartening expansion\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So it is heartening news to hear of the company’s expansion around the Bay. For the first time in 20 years, Oakland Ballet will bring this latest program to San Francisco on Thursday, Apr. 21 after its three-day run in Oakland. The company then appears in Hayward for the first time, at Chabot College, on Saturday, Apr. 23.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Small budget, big dreams” is how Lustig sums up his philosophy. “We don’t spend what we don’t have.” What precious little the company has is also shared: for the second year, Oakland Ballet is inviting local cohorts to its \u003c/span>\u003ca href=\"http://oaklandballet.org/wp/performances/eastbaydancesfestival/\">\u003cspan style=\"font-weight: 400\">East Bay DANCES Festival \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">on Sunday Apr. 17. This year’s eclectic lineup includes AXIS Dance Company, Diablo Ballet, Jubilee American Dance Theatre, The Milissa Payne Project, Patty Chu’s Chinese Folk Dance, Quicksilver Dance, and Savage Jazz Dance Company.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11493633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11493633 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-800x521.jpg\" alt=\"Vincent Chavez, Emily Kerr in Oakland Ballet's 'Divining' \" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-1920x1251.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-960x625.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vincent Chavez, Emily Kerr in Oakland Ballet’s ‘Divining’ \u003ccite>(Photo: John Hefti/Oakland Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lauren Jonas, artistic director of Diablo Ballet based in Walnut Creek, credits festivals like this with extending the reach of smaller companies. “We continue to thrive by staying small,” Jonas says. “But we have to have a multi-pronged approach, performing in venues of different sizes and in different cities. We know what makes us unique and how to capitalize on that.” Jonas speaks with the confidence of someone who has the pulse of her community, whose tiny, nine-member, 22-year-old company engages in frequent conversation with its audiences.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>A challenging landscape\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Not all dance organizations are so embedded with their communities. The Bay Area dance world is mourning the recent demise of Silicon Valley Ballet. A succession of ego clashes and financial crises felled the storied company formerly known as Ballet San Jose. \u003c/span>\u003ca href=\"http://www.sfgate.com/performance/article/Silicon-Valley-Ballet-folds-after-30-years-6877788.php\">\u003cspan style=\"font-weight: 400\">The donor class of Silicon Valley was criticized in some quarters for its philistinism\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and failure to value the artistry at its doorstep.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unfortunately, the expensive business of ballet cannot pay for itself through ticket sales. The intense daily training, the cost of maintaining and repairing dancers’ bodies, the array of specialists required to collaborate on a production, the cost of ballerinas’ handmade pointe shoes — that often disintegrate after only one performance — all add up to a fortune. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Companies like Oakland Ballet and Diablo Ballet continue to survive by sensibly downsizing while continuing to take artistic risk with new commissions, unconventional collaborations, and live music. As such, they are able to put a singular stamp on the cultural map of their communities. Their existence remains fragile, however. Unless civic and private organizations recognize these organizations’ important contributions to Bay Area prestige, their seasons will remain distressingly brief. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Oakland Ballet’s\u003c/b>\u003ca href=\"http://oaklandballet.org/wp/spring-repertory-2016/\"> \u003cb>\u003ci>A Cappella–Our Bodies Sing\u003c/i>\u003c/b>\u003c/a>\u003cb> opens on Thursday, Apr. 14 in Oakland. The\u003c/b>\u003ca href=\"http://oaklandballet.org/wp/performances/eastbaydancesfestival/\"> \u003cb>East Bay DANCES Festival\u003c/b>\u003c/a>\u003cb> takes place on Sunday, Apr. 17 in Oakland.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 989,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705044579,
"excerpt": "In an age when ballet companies are either folding or recycling the tried and tested, the East Bay company has stepped boldly onto a precipice",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In an age when ballet companies are either folding or recycling the tried and tested, the East Bay company has stepped boldly onto a precipice",
"title": "Oakland Ballet Excels with “Small Budget, Big Dreams” Philosophy | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Oakland Ballet Excels with “Small Budget, Big Dreams” Philosophy",
"datePublished": "2016-04-14T12:00:34-07:00",
"dateModified": "2024-01-11T23:29:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "oakland-ballet-excels-with-small-budget-big-dreams-philosophy",
"status": "publish",
"sticky": false,
"path": "/arts/11483009/oakland-ballet-excels-with-small-budget-big-dreams-philosophy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">On a recent Wednesday, the Oakland Ballet studios came alive with movement and music. Choreographers Janice Garrett and Charles Moulton worked with three pairs of dancers to fine-tune a series of lifts that exploded with the intensity of a cannon blast to the unearthly sounds of medieval hymns, thrillingly spun by the women of the Oakland-based chamber vocal ensemble \u003c/span>\u003ca href=\"http://www.vajravoices.com/\">\u003cspan style=\"font-weight: 400\">Vajra Voices\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Choreographer Val Caniparoli hammered out tempi and phrasing for “Oh! Susanna,” “Beautiful Dreamer” and other 19\u003c/span>\u003cspan style=\"font-weight: 400\">th\u003c/span>\u003cspan style=\"font-weight: 400\"> century parlor songs by Stephen Foster together with another local choir, the \u003c/span>\u003ca href=\"http://bcco.org/chamber-singers\">\u003cspan style=\"font-weight: 400\">Berkeley Community Chamber Singers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And Nona Brown and her \u003c/span>\u003ca href=\"http://nonabrown.org/imc/\">\u003cspan style=\"font-weight: 400\">Inspirational Music Collective\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">’s rousing, modern arrangements of African American spirituals, set to choreography by Oakland Ballet’s artistic director Graham Lustig, capped the three-hour rehearsal for this triple bill of brand new work premiering Thursday, Apr. 14 in three different venues around the Bay.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11493631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11493631 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-800x457.jpg\" alt=\"Oakland Ballet's 'Stone of Hope' choreographed by Graham Lustig. \" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Stone-of-Hope-choreographed-by-Graham-Lustig.-Photo-by-John-Hefti-e1460656083222-960x549.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Ballet’s ‘Stone of Hope’ choreographed by Graham Lustig. \u003ccite>(Photo: John Hefti/Oakland Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In an age when ballet companies are either folding or recycling the tried and tested, Lustig has stepped boldly onto a precipice. Oakland Ballet’s \u003c/span>\u003ca href=\"http://oaklandballet.org/wp/performances/\">\u003ci>\u003cspan style=\"font-weight: 400\">A Cappella–Our Bodies Sing\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> continues to explore intriguing new collaborations with local artists and musicians, and to test these classically trained dancers’ versatility. But will it attract the recognition and loyal following that the company earned in its glory days?\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Then…and now\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some who followed Oakland Ballet in the 1980s and 90s mourn the loss of the distinctive appeal the company had under founder Ronn Guidi. In its glory days, Oakland Ballet was renowned for the scrupulous style and drama of its revivals of Diaghilev-era ballets like Nijinsky’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Afternoon of a Faun and \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Nijinska’s\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Les Noces,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and for championing mid-20\u003c/span>\u003cspan style=\"font-weight: 400\">th\u003c/span>\u003cspan style=\"font-weight: 400\"> century icons of American dance and music such as Eugene Loring’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Billy the Kid\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and Agnes de Mille’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Fall River Legend\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, with close to 30 dancers in the big Diaghilev revivals and budgets of over $2 million in the mid-1990s, Oakland Ballet then had more than twice the resources that Lustig has today — 12 dancers, with an additional 10 hired for \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Nutcracker, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and a $740,000 operating budget. (The comparatively modest budget, is up 15 percent on last year, though.) \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11493635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11493635\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-800x493.jpg\" alt=\"Coral Martin center in Oakland Ballet's 'Beautiful Dreamer'\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-1920x1184.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Coral-Martin-center-in-Beautiful-Dreamer.-Photo-by-John-Hefti-e1460655998584-960x592.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Coral Martin center in Oakland Ballet’s ‘Beautiful Dreamer’ \u003ccite>(Photo: John Hefti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now in his seventh season at the helm of the company, Lustig appears to have navigated past the rockiest financial shoals, though funding constraints have kept seasons grievously short. He has commissioned imaginative new work from Bay Area choreographers including Amy Seiwert, Robert Moses and Sonya Delwaide. Meanwhile, his integration of ballet dancers with the hip-hop collective Turf Feinz crew and the wheelchair-bound dancers of AXIS Dance have helped to galvanize new audiences around ballet.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Heartening expansion\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So it is heartening news to hear of the company’s expansion around the Bay. For the first time in 20 years, Oakland Ballet will bring this latest program to San Francisco on Thursday, Apr. 21 after its three-day run in Oakland. The company then appears in Hayward for the first time, at Chabot College, on Saturday, Apr. 23.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Small budget, big dreams” is how Lustig sums up his philosophy. “We don’t spend what we don’t have.” What precious little the company has is also shared: for the second year, Oakland Ballet is inviting local cohorts to its \u003c/span>\u003ca href=\"http://oaklandballet.org/wp/performances/eastbaydancesfestival/\">\u003cspan style=\"font-weight: 400\">East Bay DANCES Festival \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">on Sunday Apr. 17. This year’s eclectic lineup includes AXIS Dance Company, Diablo Ballet, Jubilee American Dance Theatre, The Milissa Payne Project, Patty Chu’s Chinese Folk Dance, Quicksilver Dance, and Savage Jazz Dance Company.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11493633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11493633 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-800x521.jpg\" alt=\"Vincent Chavez, Emily Kerr in Oakland Ballet's 'Divining' \" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-768x500.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-1920x1251.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Oakland-Ballet.-Vincent-Chavez-Emily-Kerr-in-Divining.-Photo-by-John-Hefti-e1460656042330-960x625.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vincent Chavez, Emily Kerr in Oakland Ballet’s ‘Divining’ \u003ccite>(Photo: John Hefti/Oakland Ballet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lauren Jonas, artistic director of Diablo Ballet based in Walnut Creek, credits festivals like this with extending the reach of smaller companies. “We continue to thrive by staying small,” Jonas says. “But we have to have a multi-pronged approach, performing in venues of different sizes and in different cities. We know what makes us unique and how to capitalize on that.” Jonas speaks with the confidence of someone who has the pulse of her community, whose tiny, nine-member, 22-year-old company engages in frequent conversation with its audiences.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>A challenging landscape\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Not all dance organizations are so embedded with their communities. The Bay Area dance world is mourning the recent demise of Silicon Valley Ballet. A succession of ego clashes and financial crises felled the storied company formerly known as Ballet San Jose. \u003c/span>\u003ca href=\"http://www.sfgate.com/performance/article/Silicon-Valley-Ballet-folds-after-30-years-6877788.php\">\u003cspan style=\"font-weight: 400\">The donor class of Silicon Valley was criticized in some quarters for its philistinism\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and failure to value the artistry at its doorstep.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unfortunately, the expensive business of ballet cannot pay for itself through ticket sales. The intense daily training, the cost of maintaining and repairing dancers’ bodies, the array of specialists required to collaborate on a production, the cost of ballerinas’ handmade pointe shoes — that often disintegrate after only one performance — all add up to a fortune. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Companies like Oakland Ballet and Diablo Ballet continue to survive by sensibly downsizing while continuing to take artistic risk with new commissions, unconventional collaborations, and live music. As such, they are able to put a singular stamp on the cultural map of their communities. Their existence remains fragile, however. Unless civic and private organizations recognize these organizations’ important contributions to Bay Area prestige, their seasons will remain distressingly brief. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Oakland Ballet’s\u003c/b>\u003ca href=\"http://oaklandballet.org/wp/spring-repertory-2016/\"> \u003cb>\u003ci>A Cappella–Our Bodies Sing\u003c/i>\u003c/b>\u003c/a>\u003cb> opens on Thursday, Apr. 14 in Oakland. The\u003c/b>\u003ca href=\"http://oaklandballet.org/wp/performances/eastbaydancesfestival/\"> \u003cb>East Bay DANCES Festival\u003c/b>\u003c/a>\u003cb> takes place on Sunday, Apr. 17 in Oakland.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11483009/oakland-ballet-excels-with-small-budget-big-dreams-philosophy",
"authors": [
"11206"
],
"categories": [
"arts_966",
"arts_235"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_11493639",
"label": "arts"
},
"arts_11485238": {
"type": "posts",
"id": "arts_11485238",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11485238",
"score": null,
"sort": [
1460651448000
]
},
"guestAuthors": [],
"slug": "quilts-help-transform-east-palo-altos-cooley-landing-from-toxic-dump-to-beauty-spot",
"title": "Quilts Help Stitch Together New Perception of East Palo Alto's Cooley Landing",
"publishDate": 1460651448,
"format": "standard",
"headTitle": "Quilts Help Stitch Together New Perception of East Palo Alto’s Cooley Landing | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://cityofepa.org/?nid=446\" target=\"_blank\" rel=\"noopener\">Cooley Landing\u003c/a>, on the shores of East Palo Alto, has been used and abused over the last century. It was even the San Mateo County \u003c/span>\u003cspan style=\"font-weight: 400\">dump\u003c/span>\u003ci>\u003c/i>\u003cspan style=\"font-weight: 400\">for a couple of decades. But a local environmental artist is helping community members feel like the site belongs to them now\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\n\u003cp>On Saturday, Apr. 16, the city of East Palo Alto opens a new community center on this nine acre patch of restored wetlands. Ahead of the big day, a crack cadre of sewing enthusiasts at the East Palo Alto Senior Center has been working on a massive quilt with textile artist \u003ca href=\"http://lindagass.com\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a>.\u003c/p>\n\n\u003cp>This is painstaking, detailed work that’s not so easy on aging eyes. Years ago, the Senior Center ladies used to make clothes, drapes and quilts. “My mom did the same, and she taught me,” says 77-year-old Dorothy Lewis. She has lived in East Palo Alto since 1959, and as a child, saw her fair share of sewing parties. “They did their own designs. It was nice watching them all sit around and dip snuff.”\u003cstrong> \u003c/strong>\u003cstrong>Game to help\u003c/strong>\u003c/p>\n\n\u003cp>As long as Gass is willing to thread the needles, 71-year-old sewing volunteer Carolyn White is more than game to help. “You know what I love about this quilt?” White says. “Everybody can participate in it. To show how we work together as people. It’s a family affair.”\u003c/p>\n\n\u003cfigure class=\"wp-block-image size-medium\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"723\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg\" alt=\"Carolyn White, 71, has lived in East Palo since 1974. \" class=\"wp-image-11485363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg 723w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-400x332.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-1180x979.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-960x797.jpg 960w\" sizes=\"auto, (max-width: 723px) 100vw, 723px\">\n\u003cfigcaption class=\"wp-element-caption\">Carolyn White, 71, has lived in East Palo since 1974. “This is something for us, but our children will say ‘Our grandmother, our mother, all our family, was participating in this quilt.’ So it means a lot.” (Photo: Rachael Myrow/KQED)\u003c/figcaption>\n\u003c/figure>\n\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.lindagass.com/CreativeEcologyArtwork.html\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a> is an environmental artist who has spent much of her career focused on environmental issues. “I’m both an artist and an environmentalist, and I combine the two,” Gass says.\u003c/span>\u003cspan style=\"font-weight: 400\">In recent months, Gass has been a \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/artcenter/news/displaynews.asp?NewsID=3213&TargetID=308\" target=\"_blank\" rel=\"noopener\">resident artist\u003c/a> at Cooley Landing, thanks to the Institute of Museum and Library Services, the Palo Alto Art Center and the Palo Alto Junior Museum & Zoo. She’s spent that time coming up with creative ways to connect locals to a recently restored natural resource on their shoreline. She helped lead art and science \u003ca href=\"https://youtu.be/WCMULhEOYN8?list=PL7mxJElF4vgjFY7pvHObLyIo9UNFsDx9g\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> last summer, and made five quilts, or “stitched paintings,” as Gass calls them, inspired by Cooley Landing. \u003c/span>\u003c/p>\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We looked at mud samples under a microscope,” Gass says of the process. “We did drawings, both looking far in the distance, and then looking very close, and drawing the finely detailed things that we saw. We were interested in the contrast between the man-made items here and the natural environment.”\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-medium\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"605\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg\" alt=\"“Cooley Landing: Life in Water” by Linda Gass (2015).\" class=\"wp-image-11485362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg 605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-1180x1170.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-960x952.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut.jpg 1815w\" sizes=\"auto, (max-width: 605px) 100vw, 605px\">\n\u003cfigcaption class=\"wp-element-caption\">‘Cooley Landing: Life in Water’ by Linda Gass (2015). (Photo: Courtesy of Don Tuttle)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>In addition to the quilts and the workshops, Gass martialed an army of helpers to create a \u003ca href=\"http://www.lindagass.com/CooleyLandingLandArt.html\" target=\"_blank\" rel=\"noopener\">temporary land art installation\u003c/a> out of 2,000 blue plastic \u003ca href=\"http://www.surv-kap.com/Survey-Accessories/Survey-Marking-Whiskers\" target=\"_blank\" rel=\"noopener\">survey marking whiskers\u003c/a> (a tool commonly used by surveyers to plot out construction and other survey sites.) Gass and her collaborators used whiskers to indicate the original San Francisco Bay shoreline before landfill came into the picture.\u003c/p>\n\n\u003cp>\u003cstrong>Community participation is key\u003c/strong>\u003c/p>\n\n\u003cp>Gass is keen to involve community members as active participants in her projects. She wanted the last, biggest quilt produced as a result of her residency to be something collectively created.\u003c/p>\n\n\u003cp>The artist had local high school students paint silk squares she pre-populated with designs of local wildlife. “So you’ll see pickle weed and water boatman bugs, leopard sharks, pelicans, mud crabs,” she says.\u003c/p>\n\n\u003cp>Cooley Landing officially opened to the public in 2012. Operated by the city of East Palo Alto, the park was created in partnership with the \u003ca href=\"http://www.openspace.org/our-work/projects/cooley-landing\" target=\"_blank\" rel=\"noopener\">Midpeninsula Regional Open Space District\u003c/a>, which owns the \u003ca href=\"http://www.openspace.org/preserves/ravenswood\">Ravenswood Open Space Preserve\u003c/a> just to the north. To the south lies the \u003ca href=\"http://www.cityofpaloalto.org/depts/csd/parks_and_open_space/preserves_and_open_spaces/the_baylands.asp\" target=\"_blank\" rel=\"noopener\">Palo Alto Baylands Nature Preserve\u003c/a>, known for the highest concentration of the endangered clapper rail in the world.\u003c/p>\n\n\u003cp>On any given day, you’ll see a wide variety of locals putting Cooley Landing to use in different ways. Fisherman cast for the sturgeon and striped bass. Couples meet for lunch at the picnic tables. Teens come here to smoke a joint.\u003c/p>\n\n\u003cp>But Gass feels that there is a difference between superficially appreciating the bucolic landscape and understanding what you’re really looking at. “It really helps to have someone else teach you how to look at nature and be still,” she says.\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-large\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg\" alt=\"Cooley Landing is a pleasant piece of nature just a few minutes drive from the city. There are walking trails and picnic tables. If you\" class=\"wp-image-11485244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-960x720.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\n\u003cfigcaption class=\"wp-element-caption\">Cooley Landing at low tide. (Photo: Rachael Myrow/KQED)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>At the Eastern end of Bay Road, Cooley Landing juts out into the water, a stub of landfill with two prongs. From the air, it looks like the business end of an electric cord. To the north, you can see Dumbarton Bridge; to the south, a string of PG&E power line towers. Small planes take off in endless procession from Palo Alto Airport nearby.\u003c/p>\n\n\u003cp>\u003cstrong>\u003cspan style=\"line-height: 1.5\">No pristine wilderness\u003c/span>\u003c/strong>\u003cspan style=\"line-height: 1.5\">Even after a multi-million dollar clean-up and restoration, the edges of Cooley Landing are covered in chunks of concrete and rebar. Tires poke out of the mud.\u003c/span>\n\u003c/p>\u003cp>Gass had her doubts when she first laid eyes on the place. “Because Cooley Landing had been a landfill and lots of toxic things had been dumped and burned here, I wasn’t sure that the water quality around Cooley Landing would be healthy,” she says.\u003c/p>\n\n\u003cp>This was a brownfield, so toxic the Environmental Protection Agency (EPA) was willing to \u003ca href=\"https://www3.epa.gov/region9/superfund/cooley/\" target=\"_blank\" rel=\"noopener\">pitch in\u003c/a>\u003c/p>\n\n\n\u003cp>to help pay for the clean-up. It took 10 years of work with multiple agencies – not to mention the effort and money required to build the Educational Center.\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-large\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg\" alt=\"There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land\" class=\"wp-image-11485364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut.jpg 1680w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\n\u003cfigcaption class=\"wp-element-caption\">There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land’s past as a port and boat works. The reclaimed brick recalls the time locally manufactured bricks were shipped from here to San Francisco. (Photo: Courtesy of Fog Studio)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>\u003cspan style=\"font-weight: 400\">East Palo Alto’s Mayor Donna Rutherford is proud of the Education Center’s reclaimed Canadian cedar wood walls where the quilts will hang, and the structure’s great big picture windows that look out onto the water. “\u003c/span>I mean, it was a dump,” Rutherford says. “Now it’s a jewel of our community. We’re going to enjoy it for years and years to come.”\n\u003c/p>\u003cp>\u003cspan style=\"font-weight: 400\">That remains to be seen. City Manager Carlos Martinez says East Palo Alto needs $250,000 a year to keep the building open. Martinez isn’t sure at this point where the funds will come from. \u003c/span>“We still have to determine that,” he says.\u003c/p>\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Gass may not solve the cash flow problem. But with her bold quilts inspired by local wildlife, she’s managed to leave an artistic testament to the value of Cooley Landing, for the community it’s meant to serve.\u003c/p>\n\n\n",
"blocks": [
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://cityofepa.org/?nid=446\" target=\"_blank\" rel=\"noopener\">Cooley Landing\u003c/a>, on the shores of East Palo Alto, has been used and abused over the last century. It was even the San Mateo County \u003c/span>\u003cspan style=\"font-weight: 400\">dump\u003c/span>\u003ci>\u003c/i>\u003cspan style=\"font-weight: 400\">for a couple of decades. But a local environmental artist is helping community members feel like the site belongs to them now\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://cityofepa.org/?nid=446\" target=\"_blank\" rel=\"noopener\">Cooley Landing\u003c/a>, on the shores of East Palo Alto, has been used and abused over the last century. It was even the San Mateo County \u003c/span>\u003cspan style=\"font-weight: 400\">dump\u003c/span>\u003ci>\u003c/i>\u003cspan style=\"font-weight: 400\">for a couple of decades. But a local environmental artist is helping community members feel like the site belongs to them now\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>On Saturday, Apr. 16, the city of East Palo Alto opens a new community center on this nine acre patch of restored wetlands. Ahead of the big day, a crack cadre of sewing enthusiasts at the East Palo Alto Senior Center has been working on a massive quilt with textile artist \u003ca href=\"http://lindagass.com\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a>.\u003c/p>\n",
"innerContent": [
"\n\u003cp>On Saturday, Apr. 16, the city of East Palo Alto opens a new community center on this nine acre patch of restored wetlands. Ahead of the big day, a crack cadre of sewing enthusiasts at the East Palo Alto Senior Center has been working on a massive quilt with textile artist \u003ca href=\"http://lindagass.com\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a>.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>This is painstaking, detailed work that’s not so easy on aging eyes. Years ago, the Senior Center ladies used to make clothes, drapes and quilts. “My mom did the same, and she taught me,” says 77-year-old Dorothy Lewis. She has lived in East Palo Alto since 1959, and as a child, saw her fair share of sewing parties. “They did their own designs. It was nice watching them all sit around and dip snuff.”\u003cstrong> \u003c/strong>\u003cstrong>Game to help\u003c/strong>\u003c/p>\n",
"innerContent": [
"\n\u003cp>This is painstaking, detailed work that’s not so easy on aging eyes. Years ago, the Senior Center ladies used to make clothes, drapes and quilts. “My mom did the same, and she taught me,” says 77-year-old Dorothy Lewis. She has lived in East Palo Alto since 1959, and as a child, saw her fair share of sewing parties. “They did their own designs. It was nice watching them all sit around and dip snuff.”\u003cstrong> \u003c/strong>\u003cstrong>Game to help\u003c/strong>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>As long as Gass is willing to thread the needles, 71-year-old sewing volunteer Carolyn White is more than game to help. “You know what I love about this quilt?” White says. “Everybody can participate in it. To show how we work together as people. It’s a family affair.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>As long as Gass is willing to thread the needles, 71-year-old sewing volunteer Carolyn White is more than game to help. “You know what I love about this quilt?” White says. “Everybody can participate in it. To show how we work together as people. It’s a family affair.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 11485363,
"sizeSlug": "medium",
"imageCredit": "Photo: Rachael Myrow/KQED",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg 723w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-400x332.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-1180x979.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-960x797.jpg 960w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image size-medium\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg\" alt=\"Carolyn White, 71, has lived in East Palo since 1974. \" class=\"wp-image-11485363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg 723w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-400x332.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-1180x979.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-960x797.jpg 960w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\n\u003cfigcaption class=\"wp-element-caption\">Carolyn White, 71, has lived in East Palo since 1974. “This is something for us, but our children will say ‘Our grandmother, our mother, all our family, was participating in this quilt.’ So it means a lot.”\u003c/figcaption>\n\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image size-medium\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg\" alt=\"Carolyn White, 71, has lived in East Palo since 1974. \" class=\"wp-image-11485363\" />\n\u003cfigcaption class=\"wp-element-caption\">Carolyn White, 71, has lived in East Palo since 1974. “This is something for us, but our children will say ‘Our grandmother, our mother, all our family, was participating in this quilt.’ So it means a lot.”\u003c/figcaption>\n\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.lindagass.com/CreativeEcologyArtwork.html\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a> is an environmental artist who has spent much of her career focused on environmental issues. “I’m both an artist and an environmentalist, and I combine the two,” Gass says.\u003c/span>\u003cspan style=\"font-weight: 400\">In recent months, Gass has been a \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/artcenter/news/displaynews.asp?NewsID=3213&TargetID=308\" target=\"_blank\" rel=\"noopener\">resident artist\u003c/a> at Cooley Landing, thanks to the Institute of Museum and Library Services, the Palo Alto Art Center and the Palo Alto Junior Museum & Zoo. She’s spent that time coming up with creative ways to connect locals to a recently restored natural resource on their shoreline. She helped lead art and science \u003ca href=\"https://youtu.be/WCMULhEOYN8?list=PL7mxJElF4vgjFY7pvHObLyIo9UNFsDx9g\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> last summer, and made five quilts, or “stitched paintings,” as Gass calls them, inspired by Cooley Landing. \u003c/span>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.lindagass.com/CreativeEcologyArtwork.html\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a> is an environmental artist who has spent much of her career focused on environmental issues. “I’m both an artist and an environmentalist, and I combine the two,” Gass says.\u003c/span>\u003cspan style=\"font-weight: 400\">In recent months, Gass has been a \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/artcenter/news/displaynews.asp?NewsID=3213&TargetID=308\" target=\"_blank\" rel=\"noopener\">resident artist\u003c/a> at Cooley Landing, thanks to the Institute of Museum and Library Services, the Palo Alto Art Center and the Palo Alto Junior Museum & Zoo. She’s spent that time coming up with creative ways to connect locals to a recently restored natural resource on their shoreline. She helped lead art and science \u003ca href=\"https://youtu.be/WCMULhEOYN8?list=PL7mxJElF4vgjFY7pvHObLyIo9UNFsDx9g\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> last summer, and made five quilts, or “stitched paintings,” as Gass calls them, inspired by Cooley Landing. \u003c/span>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "fullwidth"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>“We looked at mud samples under a microscope,” Gass says of the process. “We did drawings, both looking far in the distance, and then looking very close, and drawing the finely detailed things that we saw. We were interested in the contrast between the man-made items here and the natural environment.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>“We looked at mud samples under a microscope,” Gass says of the process. “We did drawings, both looking far in the distance, and then looking very close, and drawing the finely detailed things that we saw. We were interested in the contrast between the man-made items here and the natural environment.”\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 11485362,
"sizeSlug": "medium",
"align": "center",
"imageCredit": "Photo: Courtesy of Don Tuttle",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg 605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-1180x1170.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-960x952.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut.jpg 1815w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-medium\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg\" alt=\"“Cooley Landing: Life in Water” by Linda Gass (2015).\" class=\"wp-image-11485362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg 605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-1180x1170.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-960x952.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut.jpg 1815w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\n\u003cfigcaption class=\"wp-element-caption\">‘Cooley Landing: Life in Water’ by Linda Gass (2015).\u003c/figcaption>\n\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image aligncenter size-medium\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg\" alt=\"“Cooley Landing: Life in Water” by Linda Gass (2015).\" class=\"wp-image-11485362\" />\n\u003cfigcaption class=\"wp-element-caption\">‘Cooley Landing: Life in Water’ by Linda Gass (2015).\u003c/figcaption>\n\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>In addition to the quilts and the workshops, Gass martialed an army of helpers to create a \u003ca href=\"http://www.lindagass.com/CooleyLandingLandArt.html\" target=\"_blank\" rel=\"noopener\">temporary land art installation\u003c/a> out of 2,000 blue plastic \u003ca href=\"http://www.surv-kap.com/Survey-Accessories/Survey-Marking-Whiskers\" target=\"_blank\" rel=\"noopener\">survey marking whiskers\u003c/a> (a tool commonly used by surveyers to plot out construction and other survey sites.) Gass and her collaborators used whiskers to indicate the original San Francisco Bay shoreline before landfill came into the picture.\u003c/p>\n",
"innerContent": [
"\n\u003cp>In addition to the quilts and the workshops, Gass martialed an army of helpers to create a \u003ca href=\"http://www.lindagass.com/CooleyLandingLandArt.html\" target=\"_blank\" rel=\"noopener\">temporary land art installation\u003c/a> out of 2,000 blue plastic \u003ca href=\"http://www.surv-kap.com/Survey-Accessories/Survey-Marking-Whiskers\" target=\"_blank\" rel=\"noopener\">survey marking whiskers\u003c/a> (a tool commonly used by surveyers to plot out construction and other survey sites.) Gass and her collaborators used whiskers to indicate the original San Francisco Bay shoreline before landfill came into the picture.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cstrong>Community participation is key\u003c/strong>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cstrong>Community participation is key\u003c/strong>\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Gass is keen to involve community members as active participants in her projects. She wanted the last, biggest quilt produced as a result of her residency to be something collectively created.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Gass is keen to involve community members as active participants in her projects. She wanted the last, biggest quilt produced as a result of her residency to be something collectively created.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>The artist had local high school students paint silk squares she pre-populated with designs of local wildlife. “So you’ll see pickle weed and water boatman bugs, leopard sharks, pelicans, mud crabs,” she says.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The artist had local high school students paint silk squares she pre-populated with designs of local wildlife. “So you’ll see pickle weed and water boatman bugs, leopard sharks, pelicans, mud crabs,” she says.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>Cooley Landing officially opened to the public in 2012. Operated by the city of East Palo Alto, the park was created in partnership with the \u003ca href=\"http://www.openspace.org/our-work/projects/cooley-landing\" target=\"_blank\" rel=\"noopener\">Midpeninsula Regional Open Space District\u003c/a>, which owns the \u003ca href=\"http://www.openspace.org/preserves/ravenswood\">Ravenswood Open Space Preserve\u003c/a> just to the north. To the south lies the \u003ca href=\"http://www.cityofpaloalto.org/depts/csd/parks_and_open_space/preserves_and_open_spaces/the_baylands.asp\" target=\"_blank\" rel=\"noopener\">Palo Alto Baylands Nature Preserve\u003c/a>, known for the highest concentration of the endangered clapper rail in the world.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Cooley Landing officially opened to the public in 2012. Operated by the city of East Palo Alto, the park was created in partnership with the \u003ca href=\"http://www.openspace.org/our-work/projects/cooley-landing\" target=\"_blank\" rel=\"noopener\">Midpeninsula Regional Open Space District\u003c/a>, which owns the \u003ca href=\"http://www.openspace.org/preserves/ravenswood\">Ravenswood Open Space Preserve\u003c/a> just to the north. To the south lies the \u003ca href=\"http://www.cityofpaloalto.org/depts/csd/parks_and_open_space/preserves_and_open_spaces/the_baylands.asp\" target=\"_blank\" rel=\"noopener\">Palo Alto Baylands Nature Preserve\u003c/a>, known for the highest concentration of the endangered clapper rail in the world.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>On any given day, you’ll see a wide variety of locals putting Cooley Landing to use in different ways. Fisherman cast for the sturgeon and striped bass. Couples meet for lunch at the picnic tables. Teens come here to smoke a joint.\u003c/p>\n",
"innerContent": [
"\n\u003cp>On any given day, you’ll see a wide variety of locals putting Cooley Landing to use in different ways. Fisherman cast for the sturgeon and striped bass. Couples meet for lunch at the picnic tables. Teens come here to smoke a joint.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>But Gass feels that there is a difference between superficially appreciating the bucolic landscape and understanding what you’re really looking at. “It really helps to have someone else teach you how to look at nature and be still,” she says.\u003c/p>\n",
"innerContent": [
"\n\u003cp>But Gass feels that there is a difference between superficially appreciating the bucolic landscape and understanding what you’re really looking at. “It really helps to have someone else teach you how to look at nature and be still,” she says.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 11485244,
"sizeSlug": "large",
"align": "center",
"imageCredit": "Photo: Rachael Myrow/KQED",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-960x720.jpg 960w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-large\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg\" alt=\"Cooley Landing is a pleasant piece of nature just a few minutes drive from the city. There are walking trails and picnic tables. If you\" class=\"wp-image-11485244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-960x720.jpg 960w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\n\u003cfigcaption class=\"wp-element-caption\">Cooley Landing at low tide.\u003c/figcaption>\n\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image aligncenter size-large\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg\" alt=\"Cooley Landing is a pleasant piece of nature just a few minutes drive from the city. There are walking trails and picnic tables. If you\" class=\"wp-image-11485244\" />\n\u003cfigcaption class=\"wp-element-caption\">Cooley Landing at low tide.\u003c/figcaption>\n\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>At the Eastern end of Bay Road, Cooley Landing juts out into the water, a stub of landfill with two prongs. From the air, it looks like the business end of an electric cord. To the north, you can see Dumbarton Bridge; to the south, a string of PG&E power line towers. Small planes take off in endless procession from Palo Alto Airport nearby.\u003c/p>\n",
"innerContent": [
"\n\u003cp>At the Eastern end of Bay Road, Cooley Landing juts out into the water, a stub of landfill with two prongs. From the air, it looks like the business end of an electric cord. To the north, you can see Dumbarton Bridge; to the south, a string of PG&E power line towers. Small planes take off in endless procession from Palo Alto Airport nearby.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cstrong>\u003cspan style=\"line-height: 1.5\">No pristine wilderness\u003c/span>\u003c/strong>\u003cspan style=\"line-height: 1.5\">Even after a multi-million dollar clean-up and restoration, the edges of Cooley Landing are covered in chunks of concrete and rebar. Tires poke out of the mud.\u003c/span>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cstrong>\u003cspan style=\"line-height: 1.5\">No pristine wilderness\u003c/span>\u003c/strong>\u003cspan style=\"line-height: 1.5\">Even after a multi-million dollar clean-up and restoration, the edges of Cooley Landing are covered in chunks of concrete and rebar. Tires poke out of the mud.\u003c/span>",
null,
null,
"\u003c/p>\n"
],
"innerBlocks": [
{
"blockName": "core/paragraph",
"attrs": [],
"innerBlocks": [],
"innerHTML": "\n\u003cp>Gass had her doubts when she first laid eyes on the place. “Because Cooley Landing had been a landfill and lots of toxic things had been dumped and burned here, I wasn’t sure that the water quality around Cooley Landing would be healthy,” she says.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Gass had her doubts when she first laid eyes on the place. “Because Cooley Landing had been a landfill and lots of toxic things had been dumped and burned here, I wasn’t sure that the water quality around Cooley Landing would be healthy,” she says.\u003c/p>\n"
]
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerBlocks": [],
"innerHTML": "\n\u003cp>This was a brownfield, so toxic the Environmental Protection Agency (EPA) was willing to \u003ca href=\"https://www3.epa.gov/region9/superfund/cooley/\" target=\"_blank\" rel=\"noopener\">pitch in\u003c/a>\u003c/p>\n",
"innerContent": [
"\n\u003cp>This was a brownfield, so toxic the Environmental Protection Agency (EPA) was willing to \u003ca href=\"https://www3.epa.gov/region9/superfund/cooley/\" target=\"_blank\" rel=\"noopener\">pitch in\u003c/a>\u003c/p>\n"
]
}
]
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>to help pay for the clean-up. It took 10 years of work with multiple agencies – not to mention the effort and money required to build the Educational Center.\u003c/p>\n",
"innerContent": [
"\n\u003cp>to help pay for the clean-up. It took 10 years of work with multiple agencies – not to mention the effort and money required to build the Educational Center.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/image",
"attrs": {
"id": 11485364,
"sizeSlug": "large",
"align": "center",
"imageCredit": "Photo: Courtesy of Fog Studio",
"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut.jpg 1680w",
"sizes": "(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)"
},
"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-large\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg\" alt=\"There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land\" class=\"wp-image-11485364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut.jpg 1680w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\n\u003cfigcaption class=\"wp-element-caption\">There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land’s past as a port and boat works. The reclaimed brick recalls the time locally manufactured bricks were shipped from here to San Francisco.\u003c/figcaption>\n\u003c/figure>\n",
"innerContent": [
"\n\u003cfigure class=\"wp-block-image aligncenter size-large\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg\" alt=\"There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land\" class=\"wp-image-11485364\" />\n\u003cfigcaption class=\"wp-element-caption\">There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land’s past as a port and boat works. The reclaimed brick recalls the time locally manufactured bricks were shipped from here to San Francisco.\u003c/figcaption>\n\u003c/figure>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerHTML": "\n\u003cp>\u003cspan style=\"font-weight: 400\">East Palo Alto’s Mayor Donna Rutherford is proud of the Education Center’s reclaimed Canadian cedar wood walls where the quilts will hang, and the structure’s great big picture windows that look out onto the water. “\u003c/span>I mean, it was a dump,” Rutherford says. “Now it’s a jewel of our community. We’re going to enjoy it for years and years to come.”\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cspan style=\"font-weight: 400\">East Palo Alto’s Mayor Donna Rutherford is proud of the Education Center’s reclaimed Canadian cedar wood walls where the quilts will hang, and the structure’s great big picture windows that look out onto the water. “\u003c/span>I mean, it was a dump,” Rutherford says. “Now it’s a jewel of our community. We’re going to enjoy it for years and years to come.”",
null,
null,
"\u003c/p>\n"
],
"innerBlocks": [
{
"blockName": "core/paragraph",
"attrs": [],
"innerBlocks": [],
"innerHTML": "\n\u003cp>\u003cspan style=\"font-weight: 400\">That remains to be seen. City Manager Carlos Martinez says East Palo Alto needs $250,000 a year to keep the building open. Martinez isn’t sure at this point where the funds will come from. \u003c/span>“We still have to determine that,” he says.\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cspan style=\"font-weight: 400\">That remains to be seen. City Manager Carlos Martinez says East Palo Alto needs $250,000 a year to keep the building open. Martinez isn’t sure at this point where the funds will come from. \u003c/span>“We still have to determine that,” he says.\u003c/p>\n"
]
},
{
"blockName": "core/paragraph",
"attrs": [],
"innerBlocks": [],
"innerHTML": "\n\u003cp>Gass may not solve the cash flow problem. But with her bold quilts inspired by local wildlife, she’s managed to leave an artistic testament to the value of Cooley Landing, for the community it’s meant to serve.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Gass may not solve the cash flow problem. But with her bold quilts inspired by local wildlife, she’s managed to leave an artistic testament to the value of Cooley Landing, for the community it’s meant to serve.\u003c/p>\n"
]
}
]
},
{
"blockName": "kqed/ad",
"attrs": {
"format": "floatright"
},
"innerBlocks": [],
"innerHTML": "",
"innerContent": []
}
],
"excerpt": "Environmental textile artist Linda Gass has been working with locals to reflect on the beauty and biodiversity of a site that was once a toxic waste dump",
"status": "publish",
"parent": 0,
"modified": 1785367840,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 23,
"wordCount": 1222
},
"headData": {
"title": "Quilts Help Stitch Together New Perception of East Palo Alto's Cooley Landing | KQED",
"description": "Environmental textile artist Linda Gass has been working with locals to reflect on the beauty and biodiversity of a site that was once a toxic waste dump",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Quilts Help Stitch Together New Perception of East Palo Alto's Cooley Landing",
"datePublished": "2016-04-14T09:30:48-07:00",
"dateModified": "2026-07-29T16:30:40-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 235,
"slug": "news",
"name": "News"
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/11485238/quilts-help-transform-east-palo-altos-cooley-landing-from-toxic-dump-to-beauty-spot",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://cityofepa.org/?nid=446\" target=\"_blank\" rel=\"noopener\">Cooley Landing\u003c/a>, on the shores of East Palo Alto, has been used and abused over the last century. It was even the San Mateo County \u003c/span>\u003cspan style=\"font-weight: 400\">dump\u003c/span>\u003ci>\u003c/i>\u003cspan style=\"font-weight: 400\">for a couple of decades. But a local environmental artist is helping community members feel like the site belongs to them now\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\n\u003cp>On Saturday, Apr. 16, the city of East Palo Alto opens a new community center on this nine acre patch of restored wetlands. Ahead of the big day, a crack cadre of sewing enthusiasts at the East Palo Alto Senior Center has been working on a massive quilt with textile artist \u003ca href=\"http://lindagass.com\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a>.\u003c/p>\n\n\u003cp>This is painstaking, detailed work that’s not so easy on aging eyes. Years ago, the Senior Center ladies used to make clothes, drapes and quilts. “My mom did the same, and she taught me,” says 77-year-old Dorothy Lewis. She has lived in East Palo Alto since 1959, and as a child, saw her fair share of sewing parties. “They did their own designs. It was nice watching them all sit around and dip snuff.”\u003cstrong> \u003c/strong>\u003cstrong>Game to help\u003c/strong>\u003c/p>\n\n\u003cp>As long as Gass is willing to thread the needles, 71-year-old sewing volunteer Carolyn White is more than game to help. “You know what I love about this quilt?” White says. “Everybody can participate in it. To show how we work together as people. It’s a family affair.”\u003c/p>\n\n\u003cfigure class=\"wp-block-image size-medium\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"723\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg\" alt=\"Carolyn White, 71, has lived in East Palo since 1974. \" class=\"wp-image-11485363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg 723w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-400x332.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-1180x979.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-960x797.jpg 960w\" sizes=\"auto, (max-width: 723px) 100vw, 723px\">\n\u003cfigcaption class=\"wp-element-caption\">Carolyn White, 71, has lived in East Palo since 1974. “This is something for us, but our children will say ‘Our grandmother, our mother, all our family, was participating in this quilt.’ So it means a lot.” (Photo: Rachael Myrow/KQED)\u003c/figcaption>\n\u003c/figure>\n\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.lindagass.com/CreativeEcologyArtwork.html\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a> is an environmental artist who has spent much of her career focused on environmental issues. “I’m both an artist and an environmentalist, and I combine the two,” Gass says.\u003c/span>\u003cspan style=\"font-weight: 400\">In recent months, Gass has been a \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/artcenter/news/displaynews.asp?NewsID=3213&TargetID=308\" target=\"_blank\" rel=\"noopener\">resident artist\u003c/a> at Cooley Landing, thanks to the Institute of Museum and Library Services, the Palo Alto Art Center and the Palo Alto Junior Museum & Zoo. She’s spent that time coming up with creative ways to connect locals to a recently restored natural resource on their shoreline. She helped lead art and science \u003ca href=\"https://youtu.be/WCMULhEOYN8?list=PL7mxJElF4vgjFY7pvHObLyIo9UNFsDx9g\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> last summer, and made five quilts, or “stitched paintings,” as Gass calls them, inspired by Cooley Landing. \u003c/span>\u003c/p>\n\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We looked at mud samples under a microscope,” Gass says of the process. “We did drawings, both looking far in the distance, and then looking very close, and drawing the finely detailed things that we saw. We were interested in the contrast between the man-made items here and the natural environment.”\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-medium\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"605\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg\" alt=\"“Cooley Landing: Life in Water” by Linda Gass (2015).\" class=\"wp-image-11485362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg 605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-1180x1170.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-960x952.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut.jpg 1815w\" sizes=\"auto, (max-width: 605px) 100vw, 605px\">\n\u003cfigcaption class=\"wp-element-caption\">‘Cooley Landing: Life in Water’ by Linda Gass (2015). (Photo: Courtesy of Don Tuttle)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>In addition to the quilts and the workshops, Gass martialed an army of helpers to create a \u003ca href=\"http://www.lindagass.com/CooleyLandingLandArt.html\" target=\"_blank\" rel=\"noopener\">temporary land art installation\u003c/a> out of 2,000 blue plastic \u003ca href=\"http://www.surv-kap.com/Survey-Accessories/Survey-Marking-Whiskers\" target=\"_blank\" rel=\"noopener\">survey marking whiskers\u003c/a> (a tool commonly used by surveyers to plot out construction and other survey sites.) Gass and her collaborators used whiskers to indicate the original San Francisco Bay shoreline before landfill came into the picture.\u003c/p>\n\n\u003cp>\u003cstrong>Community participation is key\u003c/strong>\u003c/p>\n\n\u003cp>Gass is keen to involve community members as active participants in her projects. She wanted the last, biggest quilt produced as a result of her residency to be something collectively created.\u003c/p>\n\n\u003cp>The artist had local high school students paint silk squares she pre-populated with designs of local wildlife. “So you’ll see pickle weed and water boatman bugs, leopard sharks, pelicans, mud crabs,” she says.\u003c/p>\n\n\u003cp>Cooley Landing officially opened to the public in 2012. Operated by the city of East Palo Alto, the park was created in partnership with the \u003ca href=\"http://www.openspace.org/our-work/projects/cooley-landing\" target=\"_blank\" rel=\"noopener\">Midpeninsula Regional Open Space District\u003c/a>, which owns the \u003ca href=\"http://www.openspace.org/preserves/ravenswood\">Ravenswood Open Space Preserve\u003c/a> just to the north. To the south lies the \u003ca href=\"http://www.cityofpaloalto.org/depts/csd/parks_and_open_space/preserves_and_open_spaces/the_baylands.asp\" target=\"_blank\" rel=\"noopener\">Palo Alto Baylands Nature Preserve\u003c/a>, known for the highest concentration of the endangered clapper rail in the world.\u003c/p>\n\n\u003cp>On any given day, you’ll see a wide variety of locals putting Cooley Landing to use in different ways. Fisherman cast for the sturgeon and striped bass. Couples meet for lunch at the picnic tables. Teens come here to smoke a joint.\u003c/p>\n\n\u003cp>But Gass feels that there is a difference between superficially appreciating the bucolic landscape and understanding what you’re really looking at. “It really helps to have someone else teach you how to look at nature and be still,” she says.\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-large\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg\" alt=\"Cooley Landing is a pleasant piece of nature just a few minutes drive from the city. There are walking trails and picnic tables. If you\" class=\"wp-image-11485244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-960x720.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\n\u003cfigcaption class=\"wp-element-caption\">Cooley Landing at low tide. (Photo: Rachael Myrow/KQED)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>At the Eastern end of Bay Road, Cooley Landing juts out into the water, a stub of landfill with two prongs. From the air, it looks like the business end of an electric cord. To the north, you can see Dumbarton Bridge; to the south, a string of PG&E power line towers. Small planes take off in endless procession from Palo Alto Airport nearby.\u003c/p>\n\n\u003cp>\u003cstrong>\u003cspan style=\"line-height: 1.5\">No pristine wilderness\u003c/span>\u003c/strong>\u003cspan style=\"line-height: 1.5\">Even after a multi-million dollar clean-up and restoration, the edges of Cooley Landing are covered in chunks of concrete and rebar. Tires poke out of the mud.\u003c/span>\n\u003c/p>\u003cp>Gass had her doubts when she first laid eyes on the place. “Because Cooley Landing had been a landfill and lots of toxic things had been dumped and burned here, I wasn’t sure that the water quality around Cooley Landing would be healthy,” she says.\u003c/p>\n\n\u003cp>This was a brownfield, so toxic the Environmental Protection Agency (EPA) was willing to \u003ca href=\"https://www3.epa.gov/region9/superfund/cooley/\" target=\"_blank\" rel=\"noopener\">pitch in\u003c/a>\u003c/p>\n\n\n\u003cp>to help pay for the clean-up. It took 10 years of work with multiple agencies – not to mention the effort and money required to build the Educational Center.\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-large\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg\" alt=\"There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land\" class=\"wp-image-11485364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut.jpg 1680w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\n\u003cfigcaption class=\"wp-element-caption\">There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land’s past as a port and boat works. The reclaimed brick recalls the time locally manufactured bricks were shipped from here to San Francisco. (Photo: Courtesy of Fog Studio)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>\u003cspan style=\"font-weight: 400\">East Palo Alto’s Mayor Donna Rutherford is proud of the Education Center’s reclaimed Canadian cedar wood walls where the quilts will hang, and the structure’s great big picture windows that look out onto the water. “\u003c/span>I mean, it was a dump,” Rutherford says. “Now it’s a jewel of our community. We’re going to enjoy it for years and years to come.”\n\u003c/p>\u003cp>\u003cspan style=\"font-weight: 400\">That remains to be seen. City Manager Carlos Martinez says East Palo Alto needs $250,000 a year to keep the building open. Martinez isn’t sure at this point where the funds will come from. \u003c/span>“We still have to determine that,” he says.\u003c/p>\n\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>Gass may not solve the cash flow problem. But with her bold quilts inspired by local wildlife, she’s managed to leave an artistic testament to the value of Cooley Landing, for the community it’s meant to serve.\u003c/p>\n\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11485238/quilts-help-transform-east-palo-altos-cooley-landing-from-toxic-dump-to-beauty-spot",
"authors": [
"251"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1310",
"arts_1037",
"arts_1119"
],
"featImg": "arts_11485242",
"label": "arts"
},
"arts_11491048": {
"type": "posts",
"id": "arts_11491048",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11491048",
"score": null,
"sort": [
1460598180000
]
},
"guestAuthors": [],
"slug": "jack-hammer-who-co-wrote-great-balls-of-fire-dead-at-90",
"title": "Jack Hammer, Who Co-Wrote 'Great Balls of Fire,' Dead at 90",
"publishDate": 1460598180,
"format": "standard",
"headTitle": "Jack Hammer, Who Co-Wrote ‘Great Balls of Fire,’ Dead at 90 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Earl Solomon Burroughs, more widely known as the singer “Jack Hammer” and the co-writer of the hit song “Great Balls of Fire,” died this week of heart failure in his hometown of Oakland. He was 90.\u003c/p>\n\u003cp>The news was made public on \u003ca href=\"https://www.facebook.com/Jack-Hammer-293255480689900/\" target=\"_blank\" rel=\"noopener\">his Facebook page\u003c/a>, which Burroughs was posting on until January of this year. His family posted the news:\u003c/p>\n\u003cp>https://www.facebook.com/permalink.php?story_fbid=1275749309107174&id=293255480689900\u003c/p>\n\u003cp>Born in 1925 in Georgia, Burroughs moved to Oakland as a child, where he grew up until he moved to New York in the 1950s. It was in the Big Apple where he started his music career as a master of ceremonies at the Baby Grand Theatre. \u003c/p>\n\u003cp>Burroughs began writing songs around that time, including “Fujiyama Mama,” which later became a hit in Japan for Wanda Jackson, the Queen of Rockabilly. He \u003ca href=\"http://www.rockabilly.nl/references/messages/jack_hammer.htm\" target=\"_blank\" rel=\"noopener\">would write almost 150 songs \u003c/a>throughout his career.\u003c/p>\n\u003cfigure id=\"attachment_11491678\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Kissin-Twist-600x600.jpg\" alt=\"Cover of Burroughs' single "Kissin' Twist"\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11491678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Burroughs’ single “Kissin’ Twist”\u003c/figcaption>\u003c/figure>\n\u003cp>The version of “Great Balls of Fire” that was recorded by Jerry Lee Lewis and is one of the greatest selling singles of all time — it sold a million copies within 10 days — is reportedly not \u003ca href=\"http://www.soul-source.co.uk/articles/soul-artists-sad-news/jack-hammer-rip-r3323/\" target=\"_blank\" rel=\"noopener\">the song that Burroughs wrote\u003c/a>. He showed the song to songwriter Peter Case who liked the title but not the music, so Case asked hit songwriter Otis Blackwell to write a new version but give half of the credit and royalties to Burroughs. Case also included the song in the 1957 movie \u003ci>Jamboree,\u003c/i> which was about a new craze called Rock ‘n’ Roll. The song title was also used for the 1989 biopic about Lewis that starred Dennis Quaid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After recording a Beat Poetry-influenced album in 1960, Burroughs moved to Europe, where he would record a bunch of songs based on Chubby Checker’s “The Twist,” the most popular being “The Kissin’ Twist.” Burroughs would later be dubbed “The Twistin’ King” of Europe. \u003c/p>\n\u003cp>Burroughs would move back to the United States in the ’80s and at one point he reportedly was to play Jimi Hendrix in a biopic about the guitar hero’s life. His health began to fail in 2010 and in 2014, a blog post stated that a lawyer Burroughs hired \u003ca href=\"https://kagedmedia.wordpress.com/2014/04/01/a-tribute-to-jack-hammer-his-family/\" target=\"_blank\" rel=\"noopener\">depleted him of all his income\u003c/a>.\u003c/p>\n\u003cp>A press release from his grandson Lance McGee states that Burroughs will be buried in a private funeral in Oakland. He is survived by children, grandchildren, great-grandchildren and even great-great-grandchildren. \u003c/p>\n\u003cp>\u003ci>Watch Jack Hammer perform with Hammond organ virtuoso Cherry Wainer in 1966. (The gun twirling is worth it alone):\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CmNqww2nDrA\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Oakland native had a music career of his own but was more successful in Europe, where he was dubbed the Twistin' King",
"status": "publish",
"parent": 0,
"modified": 1726709978,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 462
},
"headData": {
"title": "Jack Hammer, Who Co-Wrote 'Great Balls of Fire,' Dead at 90 | KQED",
"description": "The Oakland native had a music career of his own but was more successful in Europe, where he was dubbed the Twistin' King",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Jack Hammer, Who Co-Wrote 'Great Balls of Fire,' Dead at 90",
"datePublished": "2016-04-13T18:43:00-07:00",
"dateModified": "2024-09-18T18:39:38-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11491048/jack-hammer-who-co-wrote-great-balls-of-fire-dead-at-90",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earl Solomon Burroughs, more widely known as the singer “Jack Hammer” and the co-writer of the hit song “Great Balls of Fire,” died this week of heart failure in his hometown of Oakland. He was 90.\u003c/p>\n\u003cp>The news was made public on \u003ca href=\"https://www.facebook.com/Jack-Hammer-293255480689900/\" target=\"_blank\" rel=\"noopener\">his Facebook page\u003c/a>, which Burroughs was posting on until January of this year. His family posted the news:\u003c/p>\n\u003cp>https://www.facebook.com/permalink.php?story_fbid=1275749309107174&id=293255480689900\u003c/p>\n\u003cp>Born in 1925 in Georgia, Burroughs moved to Oakland as a child, where he grew up until he moved to New York in the 1950s. It was in the Big Apple where he started his music career as a master of ceremonies at the Baby Grand Theatre. \u003c/p>\n\u003cp>Burroughs began writing songs around that time, including “Fujiyama Mama,” which later became a hit in Japan for Wanda Jackson, the Queen of Rockabilly. He \u003ca href=\"http://www.rockabilly.nl/references/messages/jack_hammer.htm\" target=\"_blank\" rel=\"noopener\">would write almost 150 songs \u003c/a>throughout his career.\u003c/p>\n\u003cfigure id=\"attachment_11491678\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Kissin-Twist-600x600.jpg\" alt=\"Cover of Burroughs' single "Kissin' Twist"\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11491678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Kissin-Twist-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Burroughs’ single “Kissin’ Twist”\u003c/figcaption>\u003c/figure>\n\u003cp>The version of “Great Balls of Fire” that was recorded by Jerry Lee Lewis and is one of the greatest selling singles of all time — it sold a million copies within 10 days — is reportedly not \u003ca href=\"http://www.soul-source.co.uk/articles/soul-artists-sad-news/jack-hammer-rip-r3323/\" target=\"_blank\" rel=\"noopener\">the song that Burroughs wrote\u003c/a>. He showed the song to songwriter Peter Case who liked the title but not the music, so Case asked hit songwriter Otis Blackwell to write a new version but give half of the credit and royalties to Burroughs. Case also included the song in the 1957 movie \u003ci>Jamboree,\u003c/i> which was about a new craze called Rock ‘n’ Roll. The song title was also used for the 1989 biopic about Lewis that starred Dennis Quaid.\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>After recording a Beat Poetry-influenced album in 1960, Burroughs moved to Europe, where he would record a bunch of songs based on Chubby Checker’s “The Twist,” the most popular being “The Kissin’ Twist.” Burroughs would later be dubbed “The Twistin’ King” of Europe. \u003c/p>\n\u003cp>Burroughs would move back to the United States in the ’80s and at one point he reportedly was to play Jimi Hendrix in a biopic about the guitar hero’s life. His health began to fail in 2010 and in 2014, a blog post stated that a lawyer Burroughs hired \u003ca href=\"https://kagedmedia.wordpress.com/2014/04/01/a-tribute-to-jack-hammer-his-family/\" target=\"_blank\" rel=\"noopener\">depleted him of all his income\u003c/a>.\u003c/p>\n\u003cp>A press release from his grandson Lance McGee states that Burroughs will be buried in a private funeral in Oakland. He is survived by children, grandchildren, great-grandchildren and even great-great-grandchildren. \u003c/p>\n\u003cp>\u003ci>Watch Jack Hammer perform with Hammond organ virtuoso Cherry Wainer in 1966. (The gun twirling is worth it alone):\u003c/i>\u003c/p>\n\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/CmNqww2nDrA'\n title='//www.youtube.com/embed/CmNqww2nDrA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11491048/jack-hammer-who-co-wrote-great-balls-of-fire-dead-at-90",
"authors": [
"93"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1254",
"arts_596",
"arts_1091"
],
"featImg": "arts_11491303",
"label": "arts"
},
"arts_11490782": {
"type": "posts",
"id": "arts_11490782",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11490782",
"score": null,
"sort": [
1460579566000
]
},
"guestAuthors": [],
"slug": "chasing73-some-fun-warriors-gifs-to-post-during-game-life-in-general",
"title": "#Chasing73: Some Fun Warriors GIFs to Post During Game, Life in General",
"publishDate": 1460579566,
"format": "standard",
"headTitle": "#Chasing73: Some Fun Warriors GIFs to Post During Game, Life in General | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>We here on the KQED Arts team aren’t paid to be sports experts, but most of us have been following the Golden State Warriors for the entirety of this season — and we’re just as excited about \u003ca href=\"http://ww2.kqed.org/news/2016/04/13/in-warriors-season-of-records-seventy-three-would-be-the-biggest\" target=\"_blank\" rel=\"noopener\">Wednesday night’s possible record-setting win\u003c/a> as any dedicated Warrior fan.\u003c/p>\n\u003cp>But being that we’re also fans of art, we decided to contribute to the experience of watching the game by creating GIFs featuring some of our favorite players. Feel free to share these during and after the (hopefully) momentous occasion.\u003c/p>\n\u003cp>\u003ci>All GIFs created at \u003ca href=\"http://giphy.com/\" target=\"_blank\" rel=\"noopener\">GIPHY.com \u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Steph Curry\u003c/b>\u003c/p>\n\u003cp>\u003cb>Draymond Green\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Klay Thompson\u003c/b>\u003c/p>\n\u003cp>\u003cb>Andre Iguodala\u003c/b>\u003c/p>\n\u003cp>And as a bonus, here’s the theme song for tonight: “Splash” by by Ron Lennon & J.Wells. (Last year we touted \u003ca href=\"http://ww2.kqed.org/arts/2015/06/16/heres-your-e-40-warriors-anthem-for-the-nba-finals/\" target=\"_blank\" rel=\"noopener\">E-40’s theme for the Dubs\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5BxfvxdmRDc\u003c/p>\n\n",
"blocks": [],
"excerpt": "We created a few GIFs featuring our favorite players for you to share during and after tonight's big game.",
"status": "publish",
"parent": 0,
"modified": 1726709988,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 156
},
"headData": {
"title": "#Chasing73: Some Fun Warriors GIFs to Post During Game, Life in General | KQED",
"description": "We created a few GIFs featuring our favorite players for you to share during and after tonight's big game.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "#Chasing73: Some Fun Warriors GIFs to Post During Game, Life in General",
"datePublished": "2016-04-13T13:32:46-07:00",
"dateModified": "2024-09-18T18:39:48-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11490782/chasing73-some-fun-warriors-gifs-to-post-during-game-life-in-general",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We here on the KQED Arts team aren’t paid to be sports experts, but most of us have been following the Golden State Warriors for the entirety of this season — and we’re just as excited about \u003ca href=\"http://ww2.kqed.org/news/2016/04/13/in-warriors-season-of-records-seventy-three-would-be-the-biggest\" target=\"_blank\" rel=\"noopener\">Wednesday night’s possible record-setting win\u003c/a> as any dedicated Warrior fan.\u003c/p>\n\u003cp>But being that we’re also fans of art, we decided to contribute to the experience of watching the game by creating GIFs featuring some of our favorite players. Feel free to share these during and after the (hopefully) momentous occasion.\u003c/p>\n\u003cp>\u003ci>All GIFs created at \u003ca href=\"http://giphy.com/\" target=\"_blank\" rel=\"noopener\">GIPHY.com \u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Steph Curry\u003c/b>\u003c/p>\n\u003cp>\u003cb>Draymond Green\u003c/b>\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>Klay Thompson\u003c/b>\u003c/p>\n\u003cp>\u003cb>Andre Iguodala\u003c/b>\u003c/p>\n\u003cp>And as a bonus, here’s the theme song for tonight: “Splash” by by Ron Lennon & J.Wells. (Last year we touted \u003ca href=\"http://ww2.kqed.org/arts/2015/06/16/heres-your-e-40-warriors-anthem-for-the-nba-finals/\" target=\"_blank\" rel=\"noopener\">E-40’s theme for the Dubs\u003c/a>).\u003c/p>\n\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/5BxfvxdmRDc'\n title='//www.youtube.com/embed/5BxfvxdmRDc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11490782/chasing73-some-fun-warriors-gifs-to-post-during-game-life-in-general",
"authors": [
"93"
],
"categories": [
"arts_235",
"arts_75"
],
"tags": [
"arts_2305",
"arts_596"
],
"featImg": "arts_11490915",
"label": "arts"
},
"arts_11487954": {
"type": "posts",
"id": "arts_11487954",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11487954",
"score": null,
"sort": [
1460577607000
]
},
"guestAuthors": [],
"slug": "serials-julie-snyder-on-storytelling-the-military-and-amateur-sleuths",
"title": "Serial's Julie Snyder on Storytelling, the Military and Amateur Sleuths",
"publishDate": 1460577607,
"format": "standard",
"headTitle": "Serial’s Julie Snyder on Storytelling, the Military and Amateur Sleuths | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It’s a poorly kept secret that behind the media’s most influential innovators are almost-hidden partners — whose contributions are just as important as those who receive all the attention. For example, behind Walt Disney was \u003ca href=\"https://en.wikipedia.org/wiki/Ub_Iwerks\" target=\"_blank\" rel=\"noopener\">Ubbe Iwerks\u003c/a>; assisting Steve Jobs in realizing his vision at Apple was \u003ca href=\"https://en.wikipedia.org/wiki/Jonathan_Ive\" target=\"_blank\" rel=\"noopener\">Jonathan Ive;\u003c/a> and helping Sarah Koenig revolutionize podcasting with \u003ci>Serial\u003c/i> is her producer Julie Snyder.\u003c/p>\n\u003cp>[contextly_sidebar id=”rYiYMnePTgXlwk44OCtuY0Z28fkFBePD”]\u003c/p>\n\u003cp>When we spoke with \u003ca href=\"http://ww2.kqed.org/arts/2016/03/07/sarah-koenig-on-fame-reporting-and-the-overwhelming-pace-of-serial/\" target=\"_blank\" rel=\"noopener\">Koenig earlier this year\u003c/a>, she was clear to credit Snyder with having the idea to make \u003ci>Serial\u003c/i> a podcast. In \u003ca href=\"http://www.peabodyawards.com/stories/story/interview-with-serial-co-creators-sarah-koenig-and-julie-snyder\" target=\"_blank\" rel=\"noopener\">other interviews\u003c/a>, Snyder admitted to being the one who first learned about Adnan Syed, who was convicted of killing his ex-girlfriend in 1999 and whose story became the focus of the first season of \u003ci>Serial,\u003c/i> the most \u003ca href=\"https://www.theguardian.com/technology/2014/nov/18/serial-podcast-itunes-apple-downloads-streams\" target=\"_blank\" rel=\"noopener\">popular podcast in the medium’s history\u003c/a>.\u003c/p>\n\u003cp>Talking with Snyder, it’s obvious why she is so important to the podcast. While Koenig makes the decision to create a podcast sound like one guided by the fear of failure — she told us that she liked the idea “\u003ca href=\"http://ww2.kqed.org/arts/2016/03/07/sarah-koenig-on-fame-reporting-and-the-overwhelming-pace-of-serial/\" target=\"_blank\" rel=\"noopener\">because no one will notice if it’s bad\u003c/a>” — Snyder saw the potential for the medium in terms of experimenting with longform storytelling. And now that she’s accomplished so much with the podcast, having won a Peabody on top of creating such a popular show, we decided to call her up to chat about it.\u003c/p>\n\u003cfigure id=\"attachment_11488332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488332\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-800x450.jpg\" alt=\"Julie Snyder and Ira Glass make their pitch to advertisers\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP.jpg 1166w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Snyder and Ira Glass make their pitch to advertisers \u003ccite>(Photo: Mattew Septimus/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Sarah credits you with the idea of starting a podcast. What made you want to work in the medium?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First of all, it seemed possible that you could actually get a fair amount of listeners. There was a period of time where the technology was there and people were podcasting, but it was really hard to access podcasts and not that many people were listening to them. But by the time we were starting, it seemed like there was a big enough audience for us in “Podcast Land.”\u003c/p>\n\u003cp>But the main thing that I thought really made it easy was that for a show on public radio, there’s a logistical process. First you have to have a distributor who provides it to public radio stations. Then there is the fact that you need to fit into broadcast schedules, and you need to be weekly — consistently weekly — for a whole year. Those kinds of restrictions on broadcasts meant for us — there was only me and Sarah — that we weren’t going to be able to put on a production quite like that.\u003c/p>\n\u003cp>We didn’t have enough money, we didn’t have a big enough staff, we weren’t going to be able to fulfill the professional needs of broadcast radio. But if we made a podcast where we weren’t going to have to service all that stuff, we could do it with just the two of us and with a slim budget. And if it’s not that good, then we’d just stop. [Laughs]\u003c/p>\n\u003cp>\u003cb>What do you regret about the explosion of \u003ci>Serial’s\u003c/i> popularity?\u003c/b>\u003c/p>\n\u003cp>There are certain things that I wish didn’t happen. I wish people didn’t do the armchair detective stuff: publicly speculating on people committing crimes or their characters, their backgrounds and revealing private information about them. That was sort of unsavory and I wish there was some way we could’ve controlled that. That was really shocking for us and it was disheartening.\u003c/p>\n\u003cp>To an extent, this is the price of when you get this many people involved, but I’m not quite sure we’re supposed to be okay with that. I don’t know, I just thought I saw people behaving irresponsibly.\u003c/p>\n\u003cp>\u003cb>Is that one of the reasons you went away from pursuing another true crime story for the second season of \u003ci>Serial\u003c/i>?\u003c/b>\u003c/p>\n\u003caside class=\"pullquote alignright\">I wish people didn’t do the armchair detective stuff… That was sort of unsavory and I wish there was some way we could’ve controlled that\u003cbr>\n\u003ccite>Julie Snyder, \u003ci>Serial\u003c/i> Producer\u003c/cite>\u003c/aside>\n\u003cp>No. \u003ci>Serial\u003c/i> is all about following interesting stories where we feel like they are going to take us to surprising places and we’re going to usually learn something complicated — something that is a lot more ambiguous and a lot more nuanced then what most people take at face value. That, for us, is the definition of \u003ci>Serial.\u003c/i> We never saw \u003ci>Serial\u003c/i> as true crime; I forgot there even was a true crime genre and neither of us thought of the story that way.\u003c/p>\n\u003cp>There are entire cable networks that are devoted true crime stories and once they hit on their successful format, they will keep going back to it. That isn’t our interest at all.\u003c/p>\n\u003cp>\u003cb>What have you learned about the military from covering \u003ca href=\"https://serialpodcast.org/\" target=\"_blank\" rel=\"noopener\">Bowe Bergdahl’s story\u003c/a>?\u003c/b>\u003c/p>\n\u003cp>The main thing I’ve learned — and it seems obvious but I didn’t understand it until I started working on this story — is that the military, and even the Army and the administration, these huge institutions that are reduced to monoliths, are all being run by people. There is such a diversity of views in the Army and also within the government, and within a platoon. People see things differently and they experience them differently, and that’s what affects their choices. There isn’t this monolithic “The Army thinks this way,” or “The generals know this.” It’s really individualistic and there’s a lot of nuance.\u003c/p>\n\u003cfigure id=\"attachment_11488333\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-800x450.jpg\" alt=\"'Serial' producer Julie Snyder stands to the right of Sarah Koenig (center) as she poses with her Peabody award \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP.jpg 983w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Serial’ producer Julie Snyder stands to the right of Sarah Koenig (center) as she poses with her Peabody award \u003ccite>(Photo: Jemal Countess/Getty Images for Peabody Awards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think it’s because these institutions are so powerful you start to feel like there’s a grand plan and a puppet-mastery going on. And breaking it down in a story like this, where we’re just trying to talk to as many individuals who were affected by this story as possible, it becomes clear that the world of this story is so small and specific. With Bowe Bergdahl, he has such a specific and idiosyncratic way of looking at the world — not at all representative of other people — and yet because he involved himself in this really unique incident, the repercussions of it were huge.\u003c/p>\n\u003cp>I also really loved that in this story, we could move from the small and personal, to the big and global.\u003c/p>\n\u003cp>\u003cb>Yeah, and it’s easy to forget how huge this story is. I sometimes worry that Americans suffer from war coverage fatigue, even though it’s still this important story. You not only demonstrate the importance of what’s going on in Afghanistan, you’ve succeeded in humanizing Bowe; I feel I understand him as a person.\u003c/b>\u003c/p>\n\u003cp>That’s the cool thing about audio and it’s the strength of the medium: you hear people speaking for themselves.\u003c/p>\n\u003cp>\u003cb>What do you hope people do with podcasting as a medium?\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I would like people to continue experimenting. It’s a very experimental medium and I don’t think we know are the outer bounds of the form yet. It’s exciting to try different things, especially when they service the story or the format.\u003c/p>\n\n",
"blocks": [],
"excerpt": "While Sarah Koenig is the face of 'Serial,' her producer Julie Snyder is equally influential on the podcast's direction.",
"status": "publish",
"parent": 0,
"modified": 1726771204,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 24,
"wordCount": 1273
},
"headData": {
"title": "Serial's Julie Snyder on Storytelling, the Military and Amateur Sleuths | KQED",
"description": "While Sarah Koenig is the face of 'Serial,' her producer Julie Snyder is equally influential on the podcast's direction.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Serial's Julie Snyder on Storytelling, the Military and Amateur Sleuths",
"datePublished": "2016-04-13T13:00:07-07:00",
"dateModified": "2024-09-19T11:40:04-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11487954/serials-julie-snyder-on-storytelling-the-military-and-amateur-sleuths",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a poorly kept secret that behind the media’s most influential innovators are almost-hidden partners — whose contributions are just as important as those who receive all the attention. For example, behind Walt Disney was \u003ca href=\"https://en.wikipedia.org/wiki/Ub_Iwerks\" target=\"_blank\" rel=\"noopener\">Ubbe Iwerks\u003c/a>; assisting Steve Jobs in realizing his vision at Apple was \u003ca href=\"https://en.wikipedia.org/wiki/Jonathan_Ive\" target=\"_blank\" rel=\"noopener\">Jonathan Ive;\u003c/a> and helping Sarah Koenig revolutionize podcasting with \u003ci>Serial\u003c/i> is her producer Julie Snyder.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When we spoke with \u003ca href=\"http://ww2.kqed.org/arts/2016/03/07/sarah-koenig-on-fame-reporting-and-the-overwhelming-pace-of-serial/\" target=\"_blank\" rel=\"noopener\">Koenig earlier this year\u003c/a>, she was clear to credit Snyder with having the idea to make \u003ci>Serial\u003c/i> a podcast. In \u003ca href=\"http://www.peabodyawards.com/stories/story/interview-with-serial-co-creators-sarah-koenig-and-julie-snyder\" target=\"_blank\" rel=\"noopener\">other interviews\u003c/a>, Snyder admitted to being the one who first learned about Adnan Syed, who was convicted of killing his ex-girlfriend in 1999 and whose story became the focus of the first season of \u003ci>Serial,\u003c/i> the most \u003ca href=\"https://www.theguardian.com/technology/2014/nov/18/serial-podcast-itunes-apple-downloads-streams\" target=\"_blank\" rel=\"noopener\">popular podcast in the medium’s history\u003c/a>.\u003c/p>\n\u003cp>Talking with Snyder, it’s obvious why she is so important to the podcast. While Koenig makes the decision to create a podcast sound like one guided by the fear of failure — she told us that she liked the idea “\u003ca href=\"http://ww2.kqed.org/arts/2016/03/07/sarah-koenig-on-fame-reporting-and-the-overwhelming-pace-of-serial/\" target=\"_blank\" rel=\"noopener\">because no one will notice if it’s bad\u003c/a>” — Snyder saw the potential for the medium in terms of experimenting with longform storytelling. And now that she’s accomplished so much with the podcast, having won a Peabody on top of creating such a popular show, we decided to call her up to chat about it.\u003c/p>\n\u003cfigure id=\"attachment_11488332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488332\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-800x450.jpg\" alt=\"Julie Snyder and Ira Glass make their pitch to advertisers\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/NPR_043015_0241-Ira-Julie-CROP.jpg 1166w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Snyder and Ira Glass make their pitch to advertisers \u003ccite>(Photo: Mattew Septimus/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Sarah credits you with the idea of starting a podcast. What made you want to work in the medium?\u003c/b>\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>First of all, it seemed possible that you could actually get a fair amount of listeners. There was a period of time where the technology was there and people were podcasting, but it was really hard to access podcasts and not that many people were listening to them. But by the time we were starting, it seemed like there was a big enough audience for us in “Podcast Land.”\u003c/p>\n\u003cp>But the main thing that I thought really made it easy was that for a show on public radio, there’s a logistical process. First you have to have a distributor who provides it to public radio stations. Then there is the fact that you need to fit into broadcast schedules, and you need to be weekly — consistently weekly — for a whole year. Those kinds of restrictions on broadcasts meant for us — there was only me and Sarah — that we weren’t going to be able to put on a production quite like that.\u003c/p>\n\u003cp>We didn’t have enough money, we didn’t have a big enough staff, we weren’t going to be able to fulfill the professional needs of broadcast radio. But if we made a podcast where we weren’t going to have to service all that stuff, we could do it with just the two of us and with a slim budget. And if it’s not that good, then we’d just stop. [Laughs]\u003c/p>\n\u003cp>\u003cb>What do you regret about the explosion of \u003ci>Serial’s\u003c/i> popularity?\u003c/b>\u003c/p>\n\u003cp>There are certain things that I wish didn’t happen. I wish people didn’t do the armchair detective stuff: publicly speculating on people committing crimes or their characters, their backgrounds and revealing private information about them. That was sort of unsavory and I wish there was some way we could’ve controlled that. That was really shocking for us and it was disheartening.\u003c/p>\n\u003cp>To an extent, this is the price of when you get this many people involved, but I’m not quite sure we’re supposed to be okay with that. I don’t know, I just thought I saw people behaving irresponsibly.\u003c/p>\n\u003cp>\u003cb>Is that one of the reasons you went away from pursuing another true crime story for the second season of \u003ci>Serial\u003c/i>?\u003c/b>\u003c/p>\n\u003caside class=\"pullquote alignright\">I wish people didn’t do the armchair detective stuff… That was sort of unsavory and I wish there was some way we could’ve controlled that\u003cbr>\n\u003ccite>Julie Snyder, \u003ci>Serial\u003c/i> Producer\u003c/cite>\u003c/aside>\n\u003cp>No. \u003ci>Serial\u003c/i> is all about following interesting stories where we feel like they are going to take us to surprising places and we’re going to usually learn something complicated — something that is a lot more ambiguous and a lot more nuanced then what most people take at face value. That, for us, is the definition of \u003ci>Serial.\u003c/i> We never saw \u003ci>Serial\u003c/i> as true crime; I forgot there even was a true crime genre and neither of us thought of the story that way.\u003c/p>\n\u003cp>There are entire cable networks that are devoted true crime stories and once they hit on their successful format, they will keep going back to it. That isn’t our interest at all.\u003c/p>\n\u003cp>\u003cb>What have you learned about the military from covering \u003ca href=\"https://serialpodcast.org/\" target=\"_blank\" rel=\"noopener\">Bowe Bergdahl’s story\u003c/a>?\u003c/b>\u003c/p>\n\u003cp>The main thing I’ve learned — and it seems obvious but I didn’t understand it until I started working on this story — is that the military, and even the Army and the administration, these huge institutions that are reduced to monoliths, are all being run by people. There is such a diversity of views in the Army and also within the government, and within a platoon. People see things differently and they experience them differently, and that’s what affects their choices. There isn’t this monolithic “The Army thinks this way,” or “The generals know this.” It’s really individualistic and there’s a lot of nuance.\u003c/p>\n\u003cfigure id=\"attachment_11488333\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-800x450.jpg\" alt=\"'Serial' producer Julie Snyder stands to the right of Sarah Koenig (center) as she poses with her Peabody award \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Serial-PeabodysCROP.jpg 983w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Serial’ producer Julie Snyder stands to the right of Sarah Koenig (center) as she poses with her Peabody award \u003ccite>(Photo: Jemal Countess/Getty Images for Peabody Awards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think it’s because these institutions are so powerful you start to feel like there’s a grand plan and a puppet-mastery going on. And breaking it down in a story like this, where we’re just trying to talk to as many individuals who were affected by this story as possible, it becomes clear that the world of this story is so small and specific. With Bowe Bergdahl, he has such a specific and idiosyncratic way of looking at the world — not at all representative of other people — and yet because he involved himself in this really unique incident, the repercussions of it were huge.\u003c/p>\n\u003cp>I also really loved that in this story, we could move from the small and personal, to the big and global.\u003c/p>\n\u003cp>\u003cb>Yeah, and it’s easy to forget how huge this story is. I sometimes worry that Americans suffer from war coverage fatigue, even though it’s still this important story. You not only demonstrate the importance of what’s going on in Afghanistan, you’ve succeeded in humanizing Bowe; I feel I understand him as a person.\u003c/b>\u003c/p>\n\u003cp>That’s the cool thing about audio and it’s the strength of the medium: you hear people speaking for themselves.\u003c/p>\n\u003cp>\u003cb>What do you hope people do with podcasting as a medium?\u003c/b>\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>I would like people to continue experimenting. It’s a very experimental medium and I don’t think we know are the outer bounds of the form yet. It’s exciting to try different things, especially when they service the story or the format.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11487954/serials-julie-snyder-on-storytelling-the-military-and-amateur-sleuths",
"authors": [
"93"
],
"categories": [
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_989"
],
"featImg": "arts_11488334",
"label": "arts"
},
"arts_11484965": {
"type": "posts",
"id": "arts_11484965",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11484965",
"score": null,
"sort": [
1460498453000
]
},
"guestAuthors": [],
"slug": "odc-choreographer-addresses-climate-change-with-lime-green-snow",
"title": "ODC Choreographer Addresses Climate Change with Lime Green Snow",
"publishDate": 1460498453,
"format": "video",
"headTitle": "ODC Choreographer Addresses Climate Change with Lime Green Snow | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Hardly a week goes by without seeing news about the alarming pace and extent of climate change, from rising sea levels to record-setting temperatures in the Bay Area and beyond.\u003c/p>\n\u003cp>But lost among this torrent of data, policy measures and updated climate models is a different side of climate change — one which Bay Area choreographer KT Nelson wants people to see, and more importantly, feel.\u003c/p>\n\u003cfigure id=\"attachment_11485753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485753\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg\" alt=\"ODC Co-Artistic Director KT Nelson at Yerba Buena Center for the Arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODC co-artistic director KT Nelson at Yerba Buena Center for the Arts. \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Perhaps one of the things we need today is to address climate change from a more emotional point of view,” says Nelson, who co-directs \u003ca href=\"http://odcdance.org/index.php\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>, a San Francisco dance company founded in 1971.\u003c/p>\n\u003cp>Inspired by a sabbatical she took to Death Valley in 2013, Nelson created \u003cem>Dead Reckoning\u003c/em>, a production that explores the anxiety, indifference and panic brought on by a world transformed and threatened by climate change.\u003c/p>\n\u003cp>“In \u003cem>Dead Reckoning\u003c/em>, there is this lime-green snow, or confetti, that first starts coming from the dancer’s hands, and eventually it comes from the sky,” Nelson says. “Nothing in nature is like that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Complementing this visual metaphor is the soundtrack to \u003cem>Dead Reckoning\u003c/em>, which is composed by renowned former Kronos Quartet cellist \u003ca href=\"http://www.jjcello.com/\">Joan Jeanrenaud\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11485760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg\" alt=\"Joan Jeanrenaud composed the music for 'Dead Reckoning.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jeanrenaud composed the music for ‘Dead Reckoning.’ \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"line-height: 1.5\">The title of Nelson’s work is itself a cautionary metaphor. Sailors typically use dead reckoning to estimate their position at sea based on past measurements. The technique is useful when celestial observations aren’t available owing to thick cloud cover. \u003c/span>\u003c/p>\n\u003cp>Jeanrenaud layers multiple cello tracks on top of each other and changes their tempo in key sections of the piece. She uses the cello’s broad musical range to capture different moods, from aching sorrow to frantic urgency, as dancers variously collide into each other, run in place and dance romantically.\u003c/p>\n\u003cfigure id=\"attachment_11485109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485109\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg\" alt=\"Josie G. Sadan, a company dancer at ODC, during a rehearsal for 'Dead Reckoning.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josie G. Sadan dances during a rehearsal for ‘Dead Reckoning’ at ODC. \u003ccite>(Blake McHugh/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Today, where we are with climate change is we are navigating blindly,” Nelson says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dead Reckoning \u003c/em>had its world premiere last year at Yerba Buena Center for the Arts where it returned this year for four performances in March. If you missed it, you can watch the entire performance on\u003ca href=\"http://odcdance.org/performance.php?param=315\" target=\"_blank\" rel=\"noopener\"> ODC’s web site\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "KT Nelson’s 'Dead Reckoning' demonstrates how humans are navigating blindly through environmental damage.",
"status": "publish",
"parent": 0,
"modified": 1726771022,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 404
},
"headData": {
"title": "ODC Choreographer Addresses Climate Change with Lime Green Snow | KQED",
"description": "KT Nelson’s 'Dead Reckoning' demonstrates how humans are navigating blindly through environmental damage.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "ODC Choreographer Addresses Climate Change with Lime Green Snow",
"datePublished": "2016-04-12T15:00:53-07:00",
"dateModified": "2024-09-19T11:37:02-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"videoEmbed": "https://youtu.be/1N41d7BjShY",
"sticky": false,
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/11484965/odc-choreographer-addresses-climate-change-with-lime-green-snow",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hardly a week goes by without seeing news about the alarming pace and extent of climate change, from rising sea levels to record-setting temperatures in the Bay Area and beyond.\u003c/p>\n\u003cp>But lost among this torrent of data, policy measures and updated climate models is a different side of climate change — one which Bay Area choreographer KT Nelson wants people to see, and more importantly, feel.\u003c/p>\n\u003cfigure id=\"attachment_11485753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485753\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg\" alt=\"ODC Co-Artistic Director KT Nelson at Yerba Buena Center for the Arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODC co-artistic director KT Nelson at Yerba Buena Center for the Arts. \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Perhaps one of the things we need today is to address climate change from a more emotional point of view,” says Nelson, who co-directs \u003ca href=\"http://odcdance.org/index.php\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>, a San Francisco dance company founded in 1971.\u003c/p>\n\u003cp>Inspired by a sabbatical she took to Death Valley in 2013, Nelson created \u003cem>Dead Reckoning\u003c/em>, a production that explores the anxiety, indifference and panic brought on by a world transformed and threatened by climate change.\u003c/p>\n\u003cp>“In \u003cem>Dead Reckoning\u003c/em>, there is this lime-green snow, or confetti, that first starts coming from the dancer’s hands, and eventually it comes from the sky,” Nelson says. “Nothing in nature is like that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Complementing this visual metaphor is the soundtrack to \u003cem>Dead Reckoning\u003c/em>, which is composed by renowned former Kronos Quartet cellist \u003ca href=\"http://www.jjcello.com/\">Joan Jeanrenaud\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11485760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg\" alt=\"Joan Jeanrenaud composed the music for 'Dead Reckoning.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jeanrenaud composed the music for ‘Dead Reckoning.’ \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"line-height: 1.5\">The title of Nelson’s work is itself a cautionary metaphor. Sailors typically use dead reckoning to estimate their position at sea based on past measurements. The technique is useful when celestial observations aren’t available owing to thick cloud cover. \u003c/span>\u003c/p>\n\u003cp>Jeanrenaud layers multiple cello tracks on top of each other and changes their tempo in key sections of the piece. She uses the cello’s broad musical range to capture different moods, from aching sorrow to frantic urgency, as dancers variously collide into each other, run in place and dance romantically.\u003c/p>\n\u003cfigure id=\"attachment_11485109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485109\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg\" alt=\"Josie G. Sadan, a company dancer at ODC, during a rehearsal for 'Dead Reckoning.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josie G. Sadan dances during a rehearsal for ‘Dead Reckoning’ at ODC. \u003ccite>(Blake McHugh/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Today, where we are with climate change is we are navigating blindly,” Nelson says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dead Reckoning \u003c/em>had its world premiere last year at Yerba Buena Center for the Arts where it returned this year for four performances in March. If you missed it, you can watch the entire performance on\u003ca href=\"http://odcdance.org/performance.php?param=315\" target=\"_blank\" rel=\"noopener\"> ODC’s web site\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11484965/odc-choreographer-addresses-climate-change-with-lime-green-snow",
"authors": [
"6176"
],
"categories": [
"arts_966",
"arts_235",
"arts_990"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1406",
"arts_973",
"arts_1007"
],
"featImg": "arts_11484966",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=news": {
"isFetching": false,
"latestQuery": {
"from": 3036,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3718,
"relation": "eq"
},
"items": [
"pop_22477",
"arts_11496747",
"arts_11488076",
"arts_11494671",
"arts_11494264",
"arts_11493760",
"arts_11483009",
"arts_11485238",
"arts_11491048",
"arts_11490782",
"arts_11487954",
"arts_11484965"
],
"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"
},
"pop_4": {
"type": "terms",
"id": "pop_4",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "4",
"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": 4,
"slug": "music",
"isLoading": false,
"link": "/pop/category/music"
},
"pop_1536": {
"type": "terms",
"id": "pop_1536",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "1536",
"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": 1539,
"slug": "news-2",
"isLoading": false,
"link": "/pop/category/news-2"
},
"pop_1041": {
"type": "terms",
"id": "pop_1041",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "1041",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Zeitgeist",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Zeitgeist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1042,
"slug": "zeitgeist",
"isLoading": false,
"link": "/pop/category/zeitgeist"
},
"pop_1051": {
"type": "terms",
"id": "pop_1051",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "1051",
"found": true
},
"relationships": {},
"featImg": null,
"name": "money",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "money Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1052,
"slug": "money",
"isLoading": false,
"link": "/pop/tag/money"
},
"pop_2843": {
"type": "terms",
"id": "pop_2843",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "2843",
"found": true
},
"relationships": {},
"featImg": null,
"name": "taxes",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "taxes Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2843,
"slug": "taxes",
"isLoading": false,
"link": "/pop/tag/taxes"
},
"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_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_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_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_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_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_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_973": {
"type": "terms",
"id": "arts_973",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "973",
"found": true
},
"relationships": {},
"featImg": null,
"name": "science",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "science Archives | KQED Arts",
"ogDescription": null
},
"ttid": 991,
"slug": "science",
"isLoading": false,
"link": "/arts/tag/science"
},
"arts_1254": {
"type": "terms",
"id": "arts_1254",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1254",
"found": true
},
"relationships": {},
"featImg": null,
"name": "exclude",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "exclude Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1266,
"slug": "exclude",
"isLoading": false,
"link": "/arts/tag/exclude"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_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_1310": {
"type": "terms",
"id": "arts_1310",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1310",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Art in the Open",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Art in the Open Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1322,
"slug": "art-in-the-open",
"isLoading": false,
"link": "/arts/tag/art-in-the-open"
},
"arts_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
},
"arts_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_2305": {
"type": "terms",
"id": "arts_2305",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2305",
"found": true
},
"relationships": {},
"featImg": null,
"name": "internet",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "internet Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2317,
"slug": "internet",
"isLoading": false,
"link": "/arts/tag/internet"
},
"arts_989": {
"type": "terms",
"id": "arts_989",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "989",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Q&A",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Q&A Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1007,
"slug": "qa",
"isLoading": false,
"link": "/arts/tag/qa"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_1406": {
"type": "terms",
"id": "arts_1406",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1406",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ODC",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ODC Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1418,
"slug": "odc",
"isLoading": false,
"link": "/arts/tag/odc"
},
"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"
}
},
"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
}
}
