window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_11453177": {
"type": "attachments",
"id": "arts_11453177",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11453177",
"found": true
},
"parent": 11453049,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Hamilton-RuckusCROP-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Hamilton-RuckusCROP-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Hamilton-RuckusCROP.jpg",
"width": 886,
"height": 498
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Hamilton-RuckusCROP-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Hamilton-RuckusCROP-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Hamilton-RuckusCROP-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Hamilton-RuckusCROP-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Hamilton-RuckusCROP-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Hamilton-RuckusCROP-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1459448791,
"modified": 1459448836,
"caption": "Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during 'Hamilton' GRAMMY performance",
"description": "Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during 'Hamilton' GRAMMY performance",
"title": "The 58th GRAMMY Awards - \"Hamilton\" GRAMMY Performance",
"credit": "Photo: Theo Wargo/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11319695": {
"type": "attachments",
"id": "arts_11319695",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11319695",
"found": true
},
"parent": 11319452,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/KanyeWest.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/KanyeWest.MAIN_-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/KanyeWest.MAIN_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/KanyeWest.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/KanyeWest.MAIN_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/KanyeWest.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/KanyeWest.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/KanyeWest.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/KanyeWest.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/KanyeWest.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/KanyeWest.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/KanyeWest.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/KanyeWest.MAIN_-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/KanyeWest.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/KanyeWest.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1455240274,
"modified": 1461007212,
"caption": "Kanye West at 'Yeezy Season 3' at Madison Square Garden, Feb. 11, 2016. ",
"description": "Kanye West at 'Yeezy Season 3' at Madison Square Garden, Feb. 11, 2016. ",
"title": "KanyeWest.MAIN",
"credit": "Photo: Dimitrios Kambouris/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10930494": {
"type": "attachments",
"id": "news_10930494",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10930494",
"found": true
},
"parent": 10930485,
"imgSizes": {
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/ferry-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/ferry-400x269.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 269
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/ferry-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/ferry.jpg",
"width": 800,
"height": 538
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/ferry-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/ferry-800x538.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 538
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/ferry-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/ferry-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/ferry-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/ferry-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460771399,
"modified": 1460771431,
"caption": "View of the Ferry Building from Steuart Street after the earthquake and fire of April 18, 1906 and present day.",
"description": null,
"title": "ferry",
"credit": "\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10931225": {
"type": "attachments",
"id": "news_10931225",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10931225",
"found": true
},
"parent": 10931190,
"imgSizes": {
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/facingmoes-280x150.png",
"width": 280,
"mimeType": "image/png",
"height": 150
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/facingmoes-400x257.png",
"width": 400,
"mimeType": "image/png",
"height": 257
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/facingmoes-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/facingmoes.png",
"width": 720,
"height": 462
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/facingmoes-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/facingmoes-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/facingmoes-75x75.png",
"width": 75,
"mimeType": "image/png",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/facingmoes-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/facingmoes-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
}
},
"publishDate": 1460841963,
"modified": 1460842035,
"caption": "Telegraph Avenue, between Dwight Way and Haste Street, circa 1970.",
"description": null,
"title": "Telegraph Avenue-Berkeley",
"credit": "Nacio Jan Brown via Berkeleyside",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10930493": {
"type": "attachments",
"id": "news_10930493",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10930493",
"found": true
},
"parent": 10881844,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/SalsaDancing-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/SalsaDancing-400x294.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 294
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/SalsaDancing-960x706.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 706
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/SalsaDancing-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/SalsaDancing.jpg",
"width": 1920,
"height": 1411
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/SalsaDancing-1920x1411.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1411
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/SalsaDancing-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/SalsaDancing-800x588.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 588
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/SalsaDancing-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/SalsaDancing-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/SalsaDancing-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/SalsaDancing-1920x1411.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1411
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/SalsaDancing-1180x867.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 867
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/SalsaDancing-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/04/SalsaDancing-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1460771356,
"modified": 1460771504,
"caption": "Irma Iñiguez, a long-time dancer, shows off her salsa skills during San Francisco Mission District bar El Rio's Salsa Sunday.",
"description": "Irma Iñiguez, a long-time dancer, shows off her salsa skills during San Francisco Mission District bar El Rio's Salsa Sunday.",
"title": "SalsaDancing",
"credit": "Nicole West/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"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
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_11505487": {
"type": "authors",
"id": "byline_arts_11505487",
"meta": {
"override": true
},
"slug": "byline_arts_11505487",
"name": "Mark Kennedy, Associated Press",
"isLoading": false
},
"byline_arts_11505351": {
"type": "authors",
"id": "byline_arts_11505351",
"meta": {
"override": true
},
"slug": "byline_arts_11505351",
"name": "Anthony McCartney, Associated Press",
"isLoading": false
},
"byline_news_10931190": {
"type": "authors",
"id": "byline_news_10931190",
"meta": {
"override": true
},
"slug": "byline_news_10931190",
"name": "\u003cstrong>\u003ca href=\"http://www.berkeleyside.com/author/tomdalzell/\" target=\"_blank\">Tom Dalzell\u003c/a>\u003cbr />Berkeleyside\u003c/strong>",
"isLoading": false
},
"byline_news_10881844": {
"type": "authors",
"id": "byline_news_10881844",
"meta": {
"override": true
},
"slug": "byline_news_10881844",
"name": "Nicole West",
"isLoading": false
},
"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"
},
"lisapickoffwhite-2": {
"type": "authors",
"id": "199",
"meta": {
"index": "authors_1716337520",
"id": "199",
"found": true
},
"name": "Lisa Pickoff-White",
"firstName": "Lisa",
"lastName": "Pickoff-White",
"slug": "lisapickoffwhite-2",
"email": "lpickoffwhite@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"news"
],
"title": "Data Journalist, Senior Producer",
"bio": "Lisa Pickoff-White is KQED's data reporter. Lisa specializes in simplifying complex topics and bringing them to life through compelling visuals, including photography and data visualizations. She previously has worked at the Center for Investigative Reporting and other national outlets. Her work has been honored with awards from the Online News Association, Investigative Reporters and Editors, the Society of Professional Journalists and SXSW Interactive. \u003cstrong> \u003c/strong>",
"avatar": "https://secure.gravatar.com/avatar/5513c5f3967df792aa65bee2501e84d6?s=600&d=blank&r=g",
"twitter": "pickoffwhite",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"administrator"
]
},
{
"site": "about",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"administrator"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "quest",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Lisa Pickoff-White | KQED",
"description": "Data Journalist, Senior Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/5513c5f3967df792aa65bee2501e84d6?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5513c5f3967df792aa65bee2501e84d6?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/lisapickoffwhite-2"
},
"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"
},
"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"
},
"ecruzguevarra": {
"type": "authors",
"id": "8654",
"meta": {
"index": "authors_1716337520",
"id": "8654",
"found": true
},
"name": "Ericka Cruz Guevarra",
"firstName": "Ericka",
"lastName": "Cruz Guevarra",
"slug": "ecruzguevarra",
"email": "ecruzguevarra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Producer, The Bay Podcast",
"bio": "Ericka Cruz Guevarra is host of \u003ca href=\"https://www.kqed.org/podcasts/thebay\">\u003cem>The Bay\u003c/em>\u003c/a> podcast at KQED. Before host, she was the show’s producer. Her work in that capacity includes a three-part reported series on policing in Vallejo, which won a 2020 excellence in journalism award from the Society of Professional Journalists. Ericka has worked as a breaking news reporter at Oregon Public Broadcasting, helped produce the Code Switch podcast, and was KQED’s inaugural Raul Ramirez Diversity Fund intern. She’s also an alumna of NPR’s Next Generation Radio program. Send her an email if you have strong feelings about whether Fairfield and Suisun City are the Bay. Ericka is represented by SAG-AFTRA.",
"avatar": "https://secure.gravatar.com/avatar/accefc1de4bafc7e234b69bcb9b6f6536c130fd84709bc3069ef11a78787e1bb?s=600&d=blank&r=g",
"twitter": "NotoriousECG",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"editor",
"manage_categories"
]
},
{
"site": "futureofyou",
"roles": [
"subscriber"
]
},
{
"site": "stateofhealth",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Ericka Cruz Guevarra | KQED",
"description": "Producer, The Bay Podcast",
"ogImgSrc": "https://secure.gravatar.com/avatar/accefc1de4bafc7e234b69bcb9b6f6536c130fd84709bc3069ef11a78787e1bb?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/accefc1de4bafc7e234b69bcb9b6f6536c130fd84709bc3069ef11a78787e1bb?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ecruzguevarra"
},
"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": 10.815882
},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"title": "News",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 257
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=news",
"seeMore": false,
"paginated": true,
"page": 257
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_11505487": {
"type": "posts",
"id": "arts_11505487",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11505487",
"score": null,
"sort": [
1461009849000
]
},
"guestAuthors": [],
"slug": "lin-manuel-mirandas-hamilton-wins-pulitzer-prize-for-drama",
"title": "Lin-Manuel Miranda's 'Hamilton' Wins Pulitzer Prize for Drama",
"publishDate": 1461009849,
"format": "standard",
"headTitle": "Lin-Manuel Miranda’s ‘Hamilton’ Wins Pulitzer Prize for Drama | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cem>Hamilton\u003c/em>, the hip-hop stage biography of Alexander Hamilton has won the 2016 Pulitzer Prize for drama, honoring creator Lin-Manuel Miranda for a dazzling musical has captured popular consciousness like few Broadway shows.\u003c/p>\n\u003cp>The Columbia University’s prize board on Monday cited \u003cem>Hamilton\u003c/em> as a “landmark American” piece.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em>, about the first U.S. Treasury Secretary, becomes the ninth musical to win the drama award, joining such shows as \u003cem>South Pacific\u003c/em>, ”Sunday in the Park with George” and “Rent.” The last musical to nab the award was “Next to Normal” in 2010.\u003c/p>\n\u003cp>It tells the story of how an orphan immigrant from the Caribbean rose to the highest ranks of American society, as told by a young African-American and Latino cast. Miranda leaned on Ron Chernow’s biography of the Founding Father, but told the tale in common language and verse, transforming Hamilton into “the $10 Founding Father without a father.”\u003c/p>\n\u003cp>Miranda, 36, who wrote the music and story, already has a Tony for creating the Broadway musical “In the Heights,” a show which was nominated for a Pulitzer in 2009 and this month won three Olivier Awards in London. He also has an Emmy for writing the opening number for the 2013 Tony Awards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the past year, Miranda, whose family came from Puerto Rico to New York, has won a “genius grant” from the MacArthur Foundation, as well as the Edward M. Kennedy Prize for Drama Inspired by American History, which came with $100,000.\u003c/p>\n\u003cp>The award was widely expected to go to Miranda this year. The album for \u003cem>Hamilton\u003c/em> won a Grammy Award and became the highest-debuting cast recording on the Billboard Top 200 in over 50 years. The show is a leading favorite in this summer’s Tony Awards. The libretto, published last week, immediately became a top seller on Amazon.com\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> was a sold-out sensation this year when it debuted off-Broadway at New York’s Public Theater and amassed a $60 million advance on Broadway. It has been cheered by politicians as diverse as Dick Cheney and President Barack Obama, and celebrities like British actress Helen Mirren, musician Questlove and many others.\u003c/p>\n\u003cp>The music is a mix of breezy pop, rap battles and slinky R&B. Lyrics are smart and playful, including Hamilton declaring: “In the face of ignorance and resistance/I wrote a financial system into existence.”\u003c/p>\n\u003cp>The Pulitzer drama award, which includes a $10,000 prize, is “for a distinguished play by an American author, preferably original in its source and dealing with American life,” according to the guidelines.\u003c/p>\n\u003cp>Previous playwrights honored include August Wilson, Edward Albee, Eugene O’Neill, Arthur Miller and Tennessee Williams. Recent winners include Annie Baker’s \u003cem>The Flick\u003c/em>, Ayad Akhtar’s \u003cem>Disgraced\u003c/em> and Stephen Adly Guirgis’s “Between Riverside and Crazy.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>——-\u003c/p>\n\n",
"blocks": [],
"excerpt": "The musical about the first U.S. Treasury Secretary is 9th to win a Pulitizer for drama",
"status": "publish",
"parent": 0,
"modified": 1726709963,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 502
},
"headData": {
"title": "Lin-Manuel Miranda's 'Hamilton' Wins Pulitzer Prize for Drama | KQED",
"description": "The musical about the first U.S. Treasury Secretary is 9th to win a Pulitizer for drama",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Lin-Manuel Miranda's 'Hamilton' Wins Pulitzer Prize for Drama",
"datePublished": "2016-04-18T13:04:09-07:00",
"dateModified": "2024-09-18T18:39:23-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Mark Kennedy, Associated Press",
"path": "/arts/11505487/lin-manuel-mirandas-hamilton-wins-pulitzer-prize-for-drama",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Hamilton\u003c/em>, the hip-hop stage biography of Alexander Hamilton has won the 2016 Pulitzer Prize for drama, honoring creator Lin-Manuel Miranda for a dazzling musical has captured popular consciousness like few Broadway shows.\u003c/p>\n\u003cp>The Columbia University’s prize board on Monday cited \u003cem>Hamilton\u003c/em> as a “landmark American” piece.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em>, about the first U.S. Treasury Secretary, becomes the ninth musical to win the drama award, joining such shows as \u003cem>South Pacific\u003c/em>, ”Sunday in the Park with George” and “Rent.” The last musical to nab the award was “Next to Normal” in 2010.\u003c/p>\n\u003cp>It tells the story of how an orphan immigrant from the Caribbean rose to the highest ranks of American society, as told by a young African-American and Latino cast. Miranda leaned on Ron Chernow’s biography of the Founding Father, but told the tale in common language and verse, transforming Hamilton into “the $10 Founding Father without a father.”\u003c/p>\n\u003cp>Miranda, 36, who wrote the music and story, already has a Tony for creating the Broadway musical “In the Heights,” a show which was nominated for a Pulitzer in 2009 and this month won three Olivier Awards in London. He also has an Emmy for writing the opening number for the 2013 Tony Awards.\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>In the past year, Miranda, whose family came from Puerto Rico to New York, has won a “genius grant” from the MacArthur Foundation, as well as the Edward M. Kennedy Prize for Drama Inspired by American History, which came with $100,000.\u003c/p>\n\u003cp>The award was widely expected to go to Miranda this year. The album for \u003cem>Hamilton\u003c/em> won a Grammy Award and became the highest-debuting cast recording on the Billboard Top 200 in over 50 years. The show is a leading favorite in this summer’s Tony Awards. The libretto, published last week, immediately became a top seller on Amazon.com\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> was a sold-out sensation this year when it debuted off-Broadway at New York’s Public Theater and amassed a $60 million advance on Broadway. It has been cheered by politicians as diverse as Dick Cheney and President Barack Obama, and celebrities like British actress Helen Mirren, musician Questlove and many others.\u003c/p>\n\u003cp>The music is a mix of breezy pop, rap battles and slinky R&B. Lyrics are smart and playful, including Hamilton declaring: “In the face of ignorance and resistance/I wrote a financial system into existence.”\u003c/p>\n\u003cp>The Pulitzer drama award, which includes a $10,000 prize, is “for a distinguished play by an American author, preferably original in its source and dealing with American life,” according to the guidelines.\u003c/p>\n\u003cp>Previous playwrights honored include August Wilson, Edward Albee, Eugene O’Neill, Arthur Miller and Tennessee Williams. Recent winners include Annie Baker’s \u003cem>The Flick\u003c/em>, Ayad Akhtar’s \u003cem>Disgraced\u003c/em> and Stephen Adly Guirgis’s “Between Riverside and Crazy.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>——-\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11505487/lin-manuel-mirandas-hamilton-wins-pulitzer-prize-for-drama",
"authors": [
"byline_arts_11505487"
],
"categories": [
"arts_235",
"arts_967"
],
"tags": [
"arts_746",
"arts_596"
],
"featImg": "arts_11453177",
"label": "arts"
},
"arts_11505351": {
"type": "posts",
"id": "arts_11505351",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11505351",
"score": null,
"sort": [
1461007322000
]
},
"guestAuthors": [],
"slug": "man-sues-kanye-west-tidal-over-availability-of-new-album",
"title": "Man Sues Kanye West, Tidal, Over Availability of New Album",
"publishDate": 1461007322,
"format": "standard",
"headTitle": "Man Sues Kanye West, Tidal, Over Availability of New Album | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>A Kanye West fan on Monday sued the rapper and the streaming service Tidal claiming they duped users into subscriptions based on the promise of being the exclusive outlet for West’s latest album.\u003c/p>\n\u003cp>The proposed class action lawsuit filed in U.S. District Court in San Francisco by Justin Baker-Rhett contends West fraudulently promised fans that his album, \u003cem>The Life of Pablo\u003c/em>, would only be available on Tidal. The site charges users at least $9.99 a month, but West’s album has since been released for free on Apple Music and Spotify.\u003c/p>\n\u003cp>Millions of people flocked to Tidal in February because of West’s new album and the rapper’s promise of exclusivity, giving the struggling site a boost and also a trove of user information, the lawsuit states. Baker-Rhett is asking a judge to order Tidal to delete information collected on users who signed up for West’s album.\u003c/p>\n\u003cp>“Mr. West’s promise of exclusivity also had a grave impact on consumer privacy,” the lawsuit states, noting that users’ credit card information, music preferences and other personal information have been collected.\u003c/p>\n\u003cp>The lawsuit contends the value of new subscribers and their personal information could be as much as $84 million for Tidal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Email messages sent to Tidal and West seeking comment were not immediately returned.\u003c/p>\n\u003cp>The lawsuit includes references to Twitter postings by West, including one from the rapper’s account that proclaimed, “My album will never never be on Apple. And it will never be for sale… You can only get it on Tidal.”\u003c/p>\n\u003cp>While the album isn’t for sale through many traditional outlets, West has sold it on his website. West is one of Tidal’s “owner-artists” who has a stake in the company.\u003c/p>\n\u003cp>“We fully support the right of artists to express themselves freely and creatively, however creative freedom is not a license to mislead the public,” Baker-Rhett’s attorney Jay Edelson wrote in a statement. “We believe that we will be able to prove to a jury that Mr. West and Tidal tricked millions of people into subscribing to their services and that they will ultimately be held accountable for what they did.”\u003c/p>\n\u003cp>The lawsuit also lists a company owned by rapper Jay Z, who controls Tidal and enlisted top musicians including West to promote the service, as a defendant. An email sent to Jay Z’s publicist on Monday was not immediately returned.\u003c/p>\n\u003cp>Releasing \u003cem>The Life of Pablo\u003c/em> on Tidal gave it an additional 2 million subscribers, the lawsuit states. The company has said the album was streamed more than 250 million times within the first 10 days of its release.\u003c/p>\n\u003cp>Tidal launched in October 2014 but was given a splashy debut at a March 2015 event in New York attended by Jay Z, Rihanna, Madonna, West and other top artists. Since then, it has struggled to gain subscribers.\u003c/p>\n\u003cp>Tidal recently threatened legal action against the Scandinavian company Apsiro, which sold Tidal to the business controlled by Jay Z, stating Apsiro overinflated its subscriber figures.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Promised to only be streamed on Tidal, West's album is also on Apple Music and Spotify",
"status": "publish",
"parent": 0,
"modified": 1726709967,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 542
},
"headData": {
"title": "Man Sues Kanye West, Tidal, Over Availability of New Album | KQED",
"description": "Promised to only be streamed on Tidal, West's album is also on Apple Music and Spotify",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Man Sues Kanye West, Tidal, Over Availability of New Album",
"datePublished": "2016-04-18T12:22:02-07:00",
"dateModified": "2024-09-18T18:39:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Anthony McCartney, Associated Press",
"path": "/arts/11505351/man-sues-kanye-west-tidal-over-availability-of-new-album",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Kanye West fan on Monday sued the rapper and the streaming service Tidal claiming they duped users into subscriptions based on the promise of being the exclusive outlet for West’s latest album.\u003c/p>\n\u003cp>The proposed class action lawsuit filed in U.S. District Court in San Francisco by Justin Baker-Rhett contends West fraudulently promised fans that his album, \u003cem>The Life of Pablo\u003c/em>, would only be available on Tidal. The site charges users at least $9.99 a month, but West’s album has since been released for free on Apple Music and Spotify.\u003c/p>\n\u003cp>Millions of people flocked to Tidal in February because of West’s new album and the rapper’s promise of exclusivity, giving the struggling site a boost and also a trove of user information, the lawsuit states. Baker-Rhett is asking a judge to order Tidal to delete information collected on users who signed up for West’s album.\u003c/p>\n\u003cp>“Mr. West’s promise of exclusivity also had a grave impact on consumer privacy,” the lawsuit states, noting that users’ credit card information, music preferences and other personal information have been collected.\u003c/p>\n\u003cp>The lawsuit contends the value of new subscribers and their personal information could be as much as $84 million for Tidal.\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>Email messages sent to Tidal and West seeking comment were not immediately returned.\u003c/p>\n\u003cp>The lawsuit includes references to Twitter postings by West, including one from the rapper’s account that proclaimed, “My album will never never be on Apple. And it will never be for sale… You can only get it on Tidal.”\u003c/p>\n\u003cp>While the album isn’t for sale through many traditional outlets, West has sold it on his website. West is one of Tidal’s “owner-artists” who has a stake in the company.\u003c/p>\n\u003cp>“We fully support the right of artists to express themselves freely and creatively, however creative freedom is not a license to mislead the public,” Baker-Rhett’s attorney Jay Edelson wrote in a statement. “We believe that we will be able to prove to a jury that Mr. West and Tidal tricked millions of people into subscribing to their services and that they will ultimately be held accountable for what they did.”\u003c/p>\n\u003cp>The lawsuit also lists a company owned by rapper Jay Z, who controls Tidal and enlisted top musicians including West to promote the service, as a defendant. An email sent to Jay Z’s publicist on Monday was not immediately returned.\u003c/p>\n\u003cp>Releasing \u003cem>The Life of Pablo\u003c/em> on Tidal gave it an additional 2 million subscribers, the lawsuit states. The company has said the album was streamed more than 250 million times within the first 10 days of its release.\u003c/p>\n\u003cp>Tidal launched in October 2014 but was given a splashy debut at a March 2015 event in New York attended by Jay Z, Rihanna, Madonna, West and other top artists. Since then, it has struggled to gain subscribers.\u003c/p>\n\u003cp>Tidal recently threatened legal action against the Scandinavian company Apsiro, which sold Tidal to the business controlled by Jay Z, stating Apsiro overinflated its subscriber figures.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11505351/man-sues-kanye-west-tidal-over-availability-of-new-album",
"authors": [
"byline_arts_11505351"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_746",
"arts_596"
],
"featImg": "arts_11319695",
"label": "arts"
},
"news_10930485": {
"type": "posts",
"id": "news_10930485",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10930485",
"score": null,
"sort": [
1461000582000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 6944
},
"blocks": [],
"publishDate": 1461000582,
"format": "standard",
"disqusTitle": "See How San Francisco Rebuilt 110 Years After the 1906 Quake",
"title": "See How San Francisco Rebuilt 110 Years After the 1906 Quake",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>At 5:12 a.m., the shaking started 110 years ago today. The 7.8 magnitude earthquake and ensuing fires destroyed more than 80 percent of San Francisco and killed about 3,000 people.\u003c/p>\n\u003cp>The destruction inspired photographers from around the world and the 1906 earthquake became one of the first natural disasters widely documented with photos and early motion pictures.\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfgate.com/bayarea/article/New-S-F-archive-includes-stunning-photos-from-6207086.php\" target=\"_blank\">John Henry Mentz\u003c/a> worked as a staff photographer for United Railroads at the time. On April 18, and in the ensuing days, he took more than \u003ca href=\"http://sfmta.photoshelter.com/#!/index\" target=\"_blank\">200 images\u003c/a> with his large-format camera and created a case of 6 1/2-by-8 1/2 inch negative plates.\u003c/p>\n\u003cp>Three weeks later, \u003ca href=\"http://petapixel.com/2013/06/19/the-captive-airship-george-lawrences-panoramic-kite-photography-rig/\" target=\"_blank\">George Lawrence\u003c/a> shot his famous \"San Francisco in Ruins\" with a 49-pound camera flying about 2,000 feet above the bay with 17 Conyne kites strung together with piano wire cable.\u003c/p>\n\u003cp>Photographer Frederick Eugene Ives captured the destruction \u003ca href=\"http://americanhistory.si.edu/blog/2010/01/the-1906-san-francisco-quake-in-color.html\" target=\"_blank\">in color photographs\u003c/a> six months later, using a device called a Krőmgram.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because of their vision, we can stand before the surviving buildings and imagine what it felt like 110 years ago.\u003c/p>\n\u003cfigure id=\"attachment_10930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/mills2.jpg\" rel=\"attachment wp-att-10930496\">\u003cimg class=\"wp-image-10930506 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/mills2-800x270.jpg\" alt=\"\" width=\"800\" height=\"270\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-800x270.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-400x135.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-1180x399.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-960x325.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mills Building damaged after the 1906 earthquake and fire. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/boniface.jpg\" rel=\"attachment wp-att-10930488\">\u003cimg class=\"size-medium wp-image-10930488\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/boniface-800x281.jpg\" alt=\"St. Boniface Church after the 1906 earthquake and present day.\" width=\"800\" height=\"281\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-800x281.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-400x140.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-1180x414.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-960x337.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Boniface Church after the 1906 earthquake and present day. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/stfrancis.jpg\" rel=\"attachment wp-att-10930499\">\u003cimg class=\"size-medium wp-image-10930499\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/stfrancis-800x561.jpg\" alt=\"St. Francis Hotel after the earthquake and fire of April, 1906 and present day.\" width=\"800\" height=\"561\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/stfrancis.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/stfrancis-400x281.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Francis Hotel after the earthquake and fire of April, 1906. Written on back: \"St. Francis Hotel + new wing in process of construction. Only damage was by fire. Powell + Geary.\" \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/kohl.jpg\" rel=\"attachment wp-att-10930503\">\u003cimg class=\"size-medium wp-image-10930503\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/kohl-800x479.jpg\" alt=\"California street at Montgomery. Ruins of the Kohl Building.\" width=\"800\" height=\"479\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/kohl.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/kohl-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">California street at Montgomery. Ruins of the Kohl Building. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
"disqusIdentifier": "10930485 http://ww2.kqed.org/news/?p=10930485",
"disqusUrl": "https://ww2.kqed.org/news/2016/04/18/see-how-san-francisco-rebuilt-110-years-after-the-1906-quake/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 297,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1461179621,
"excerpt": "Because of early photographers we can visualize the damage done today.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Because of early photographers we can visualize the damage done today.",
"title": "See How San Francisco Rebuilt 110 Years After the 1906 Quake | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "See How San Francisco Rebuilt 110 Years After the 1906 Quake",
"datePublished": "2016-04-18T10:29:42-07:00",
"dateModified": "2016-04-20T12:13:41-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"guestAuthors": [],
"slug": "see-how-san-francisco-rebuilt-110-years-after-the-1906-quake",
"status": "publish",
"path": "/news/10930485/see-how-san-francisco-rebuilt-110-years-after-the-1906-quake",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 5:12 a.m., the shaking started 110 years ago today. The 7.8 magnitude earthquake and ensuing fires destroyed more than 80 percent of San Francisco and killed about 3,000 people.\u003c/p>\n\u003cp>The destruction inspired photographers from around the world and the 1906 earthquake became one of the first natural disasters widely documented with photos and early motion pictures.\u003c/p>\n\u003cp>\u003ca href=\"http://www.sfgate.com/bayarea/article/New-S-F-archive-includes-stunning-photos-from-6207086.php\" target=\"_blank\">John Henry Mentz\u003c/a> worked as a staff photographer for United Railroads at the time. On April 18, and in the ensuing days, he took more than \u003ca href=\"http://sfmta.photoshelter.com/#!/index\" target=\"_blank\">200 images\u003c/a> with his large-format camera and created a case of 6 1/2-by-8 1/2 inch negative plates.\u003c/p>\n\u003cp>Three weeks later, \u003ca href=\"http://petapixel.com/2013/06/19/the-captive-airship-george-lawrences-panoramic-kite-photography-rig/\" target=\"_blank\">George Lawrence\u003c/a> shot his famous \"San Francisco in Ruins\" with a 49-pound camera flying about 2,000 feet above the bay with 17 Conyne kites strung together with piano wire cable.\u003c/p>\n\u003cp>Photographer Frederick Eugene Ives captured the destruction \u003ca href=\"http://americanhistory.si.edu/blog/2010/01/the-1906-san-francisco-quake-in-color.html\" target=\"_blank\">in color photographs\u003c/a> six months later, using a device called a Krőmgram.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because of their vision, we can stand before the surviving buildings and imagine what it felt like 110 years ago.\u003c/p>\n\u003cfigure id=\"attachment_10930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/mills2.jpg\" rel=\"attachment wp-att-10930496\">\u003cimg class=\"wp-image-10930506 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/mills2-800x270.jpg\" alt=\"\" width=\"800\" height=\"270\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-800x270.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-400x135.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-1180x399.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/mills2-960x325.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mills Building damaged after the 1906 earthquake and fire. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/boniface.jpg\" rel=\"attachment wp-att-10930488\">\u003cimg class=\"size-medium wp-image-10930488\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/boniface-800x281.jpg\" alt=\"St. Boniface Church after the 1906 earthquake and present day.\" width=\"800\" height=\"281\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-800x281.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-400x140.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-1180x414.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/boniface-960x337.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Boniface Church after the 1906 earthquake and present day. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/stfrancis.jpg\" rel=\"attachment wp-att-10930499\">\u003cimg class=\"size-medium wp-image-10930499\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/stfrancis-800x561.jpg\" alt=\"St. Francis Hotel after the earthquake and fire of April, 1906 and present day.\" width=\"800\" height=\"561\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/stfrancis.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/stfrancis-400x281.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Francis Hotel after the earthquake and fire of April, 1906. Written on back: \"St. Francis Hotel + new wing in process of construction. Only damage was by fire. Powell + Geary.\" \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10930503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/kohl.jpg\" rel=\"attachment wp-att-10930503\">\u003cimg class=\"size-medium wp-image-10930503\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/kohl-800x479.jpg\" alt=\"California street at Montgomery. Ruins of the Kohl Building.\" width=\"800\" height=\"479\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/kohl.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/kohl-400x240.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">California street at Montgomery. Ruins of the Kohl Building. \u003ccite>(\u003ca href=\"www.sfpl.org/sfphotos\">San Francisco History Center, San Francisco Public Library\u003c/a> and Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10930485/see-how-san-francisco-rebuilt-110-years-after-the-1906-quake",
"authors": [
"8654",
"199"
],
"programs": [
"news_6944"
],
"categories": [
"news_223",
"news_8",
"news_356"
],
"tags": [
"news_993",
"news_17826",
"news_2672"
],
"featImg": "news_10930494",
"label": "news_6944"
},
"news_10931190": {
"type": "posts",
"id": "news_10931190",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10931190",
"score": null,
"sort": [
1460988033000
]
},
"guestAuthors": [],
"slug": "enduring-portrait-of-berkeleys-boulevard-of-the-unconventional",
"title": "Enduring Portrait of Berkeley's Boulevard of the Unconventional",
"publishDate": 1460988033,
"format": "standard",
"headTitle": "Enduring Portrait of Berkeley’s Boulevard of the Unconventional | KQED",
"labelTerm": {
"term": 6944,
"site": "news"
},
"content": "\u003cp>For decades, Telegraph Avenue has been the Boulevard of Unconventional Berkeley — a bohemian enclave, then the Free Speech Movement, anti-Vietnam War, People’s Park, hippies, punks, street people. Before the Big Changes of the late 1960s, on Telegraph you could buy out-of-town and foreign-language newspapers, croissants, espresso drinks, Turkish cigarettes and Gauloises.\u003c/p>\n\u003cp>You could watch foreign-language films at the Cinema Guild and Cinema Studio, and read what Pauline Kael had to say about the movies, and play chess, and everywhere was baroque music and folk music. There were boutiques and haberdasheries and art galleries and mom-and-pop grocery stores. And the used bookstores! What a world! We were Athens, this was our Bleecker Street, our Boulevard Saint-Michel with a touch, perhaps, of Bourbon Street and Dylan’s Desolation Row.\u003c/p>\n\u003cp>And then came the Big Changes. Telegraph became a battlefield in the late 1960s, literally and culturally. Telegraph Avenue between Haste Street and Dwight Way was the epicenter of countercultural change in Berkeley, and there exists a striking photographic documentation of that block at that time by Nacio Jan Brown.\u003c/p>\n\u003cp>Brown arrived in Berkeley as a freshman at Cal in the fall of 1960. In 1965, he started to photograph Berkeley in earnest. …\u003c/p>\n\u003cp>Many of Brown’s photographs documenting life on Telegraph Avenue were taken from the Med shooting across to the Rag Theatre clothing store, street level of an apartment house known not just a little facetiously as the Telegraph Hilton. His modus operandi was to arrive on the Avenue before the young people. He became part of the scene, not an outsider photographing it.\u003c/p>\n\u003cfigure id=\"attachment_10931226\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png\" rel=\"attachment wp-att-10931226\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png\" alt=\"Many of the photographs were of young teens who called themselves the Red Rockets and their youth auxiliary, the Mini Mob. Their classroom was Telegraph Avenue. Their family was each other.\" width=\"720\" height=\"460\" class=\"size-full wp-image-10931226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/04/Three-girls-720x460-400x256.png 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Many of the photographs were of young teens who called themselves the Red Rockets and their youth auxiliary, the Mini Mob. Their classroom was Telegraph Avenue. Their family was each other. \u003ccite>(Nacio Jan Brown via Berkeleyside)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown stopped shooting on Telegraph in 1973. He was exhausted. “There came a time when I just couldn’t shoot anymore.” Things were getting ugly. He continued having coffee at the Med regularly until the early 1980s, and then stopped going to Telegraph at all. Too ugly, too sad. Hard drugs and exploitation had slowly supplanted marijuana and hope/joy, even as he was shooting the block. The kids of Telegraph moved on. Many died young, way too many, casually disappearing. Some thrived in life, and look back on the years on Telegraph with appreciation and fondness. Some struggle still.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Read the full story and view more of Nacio Jan Brown’s photographs at Berkeleyside:\u003c/em>\u003cbr>\n\u003ca href=\"http://www.berkeleyside.com/2016/04/14/how-quirky-was-berkeley-the-riches-of-rag-theater/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>The Riches of Rag Theater: Nacio Jan Brown’s Berkeley\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tom Dalzell, a labor lawyer, created a website, \u003ca href=\"http://quirkyberkeley.com/\" target=\"_blank\" rel=\"noopener\">Quirky Berkeley\u003c/a>, to share all the whimsical local objects he has captured with his iPhone. The site now has more than 8,000 photographs of quirky objects around town as well as posts where the 30-year resident muses on what it all means.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Nacio Jan Brown captured hundreds of portraits of Berkeley's Telegraph Avenue during the flowering, and wilting, of the 1960s and early '70s.",
"status": "publish",
"parent": 0,
"modified": 1721103861,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 497
},
"headData": {
"title": "Enduring Portrait of Berkeley's Boulevard of the Unconventional | KQED",
"description": "Nacio Jan Brown captured hundreds of portraits of Berkeley's Telegraph Avenue during the flowering, and wilting, of the 1960s and early '70s.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Enduring Portrait of Berkeley's Boulevard of the Unconventional",
"datePublished": "2016-04-18T07:00:33-07:00",
"dateModified": "2024-07-15T21:24:21-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"sticky": false,
"nprByline": "\u003cstrong>\u003ca href=\"http://www.berkeleyside.com/author/tomdalzell/\" target=\"_blank\">Tom Dalzell\u003c/a>\u003cbr />Berkeleyside\u003c/strong>",
"path": "/news/10931190/enduring-portrait-of-berkeleys-boulevard-of-the-unconventional",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, Telegraph Avenue has been the Boulevard of Unconventional Berkeley — a bohemian enclave, then the Free Speech Movement, anti-Vietnam War, People’s Park, hippies, punks, street people. Before the Big Changes of the late 1960s, on Telegraph you could buy out-of-town and foreign-language newspapers, croissants, espresso drinks, Turkish cigarettes and Gauloises.\u003c/p>\n\u003cp>You could watch foreign-language films at the Cinema Guild and Cinema Studio, and read what Pauline Kael had to say about the movies, and play chess, and everywhere was baroque music and folk music. There were boutiques and haberdasheries and art galleries and mom-and-pop grocery stores. And the used bookstores! What a world! We were Athens, this was our Bleecker Street, our Boulevard Saint-Michel with a touch, perhaps, of Bourbon Street and Dylan’s Desolation Row.\u003c/p>\n\u003cp>And then came the Big Changes. Telegraph became a battlefield in the late 1960s, literally and culturally. Telegraph Avenue between Haste Street and Dwight Way was the epicenter of countercultural change in Berkeley, and there exists a striking photographic documentation of that block at that time by Nacio Jan Brown.\u003c/p>\n\u003cp>Brown arrived in Berkeley as a freshman at Cal in the fall of 1960. In 1965, he started to photograph Berkeley in earnest. …\u003c/p>\n\u003cp>Many of Brown’s photographs documenting life on Telegraph Avenue were taken from the Med shooting across to the Rag Theatre clothing store, street level of an apartment house known not just a little facetiously as the Telegraph Hilton. His modus operandi was to arrive on the Avenue before the young people. He became part of the scene, not an outsider photographing it.\u003c/p>\n\u003cfigure id=\"attachment_10931226\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png\" rel=\"attachment wp-att-10931226\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png\" alt=\"Many of the photographs were of young teens who called themselves the Red Rockets and their youth auxiliary, the Mini Mob. Their classroom was Telegraph Avenue. Their family was each other.\" width=\"720\" height=\"460\" class=\"size-full wp-image-10931226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/04/Three-girls-720x460-400x256.png 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Many of the photographs were of young teens who called themselves the Red Rockets and their youth auxiliary, the Mini Mob. Their classroom was Telegraph Avenue. Their family was each other. \u003ccite>(Nacio Jan Brown via Berkeleyside)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown stopped shooting on Telegraph in 1973. He was exhausted. “There came a time when I just couldn’t shoot anymore.” Things were getting ugly. He continued having coffee at the Med regularly until the early 1980s, and then stopped going to Telegraph at all. Too ugly, too sad. Hard drugs and exploitation had slowly supplanted marijuana and hope/joy, even as he was shooting the block. The kids of Telegraph moved on. Many died young, way too many, casually disappearing. Some thrived in life, and look back on the years on Telegraph with appreciation and fondness. Some struggle still.\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>\u003cem>Read the full story and view more of Nacio Jan Brown’s photographs at Berkeleyside:\u003c/em>\u003cbr>\n\u003ca href=\"http://www.berkeleyside.com/2016/04/14/how-quirky-was-berkeley-the-riches-of-rag-theater/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>The Riches of Rag Theater: Nacio Jan Brown’s Berkeley\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tom Dalzell, a labor lawyer, created a website, \u003ca href=\"http://quirkyberkeley.com/\" target=\"_blank\" rel=\"noopener\">Quirky Berkeley\u003c/a>, to share all the whimsical local objects he has captured with his iPhone. The site now has more than 8,000 photographs of quirky objects around town as well as posts where the 30-year resident muses on what it all means.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10931190/enduring-portrait-of-berkeleys-boulevard-of-the-unconventional",
"authors": [
"byline_news_10931190"
],
"programs": [
"news_6944"
],
"categories": [
"news_223"
],
"tags": [
"news_129",
"news_20013",
"news_2672"
],
"affiliates": [
"news_5078"
],
"featImg": "news_10931225",
"label": "news_6944"
},
"news_10881844": {
"type": "posts",
"id": "news_10881844",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10881844",
"score": null,
"sort": [
1460876715000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 72
},
"blocks": [],
"publishDate": 1460876715,
"format": "standard",
"disqusTitle": "My Spot: Salsa Dancing in San Francisco's Mission District",
"title": "My Spot: Salsa Dancing in San Francisco's Mission District",
"headTitle": "My Spot | The California Report | KQED News",
"content": "\u003cp>For 66-year-old Irma Iñiguez, dancing salsa is like a drug. “It’s very addictive,” she says. You can find her every second and fourth Sunday of the month at a San Francisco club called \u003ca href=\"http://www.elriosf.com/\">El Rio\u003c/a> for “Salsa Sunday.”\u003c/p>\n\u003cp>The Mission District bar opened in 1978 and its website describes itself as a “Leather Brazilian Gay Bar.” As for Salsa Sundays, a live band plays salsa music as the patio swells with dancers, young and old.\u003c/p>\n\u003cp>Iñiguez, an El Rio regular for the last 30 years, has witnessed firsthand the transformation of the club and the neighborhood. Nowadays, she says, salsa music isn’t geared mainly toward Latinos. She says it crosses over to mix with different genres -- like reggae and rumba -- to attract different folks.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/259318406\" 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>“People of all ages come here,” Iñiguez explains. “Transplants come here. People that are trying to figure out if they want to live here come here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says she has adapted to these changes with the help of life-long friends.\u003c/p>\n\u003cp>“There’s a group of us that I call the ‘Q-Tip heads,’ ” she says. “Of course, there’s those that dye their hair. But I know underneath that, they’re the Q-tip heads. And we all come here together. We dance together.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"M5FVkNaGqFAK6lKVCGtNmcfItPbe5ho4\"]\u003c/p>\n\u003cp>She even reconnected with high school friends at the bar and became Facebook friends.\u003c/p>\n\u003cp>Iñiguez, a Mexico City native, moved to the Mission with her family when she was 5 years old. As a child, she learned to dance from her father, who was also a dancer.\u003c/p>\n\u003cp>As a young adult, Iñiguez started going to dance clubs. She says the dancing was different from what she was used to.\u003c/p>\n\u003cp>“You know, everybody counted,” she recalls, “and they would ask me, ‘Do you dance on the eighth or the fourth?' and I was like, ‘I don’t know.’”\u003c/p>\n\u003cp>When she was in her 30s, she discovered El Rio and its “free spirit” atmosphere. She says you don’t have to worry about how you dance, “and everybody improvises and nobody cares if you stumble and fall.”\u003c/p>\n\u003cp>Around the time she discovered El Rio, Iñiguez became a salsa performer and was even the group’s personal makeup artist. Today she’s no longer performing in a salsa group, but you can still find her every “Salsa Sunday” on the El Rio dance floor sliding and swinging in the arms of other salsa dancers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And who cares if you’re a Q-tip head or a brown head or, you know, a black head or a red head, you know, nobody cares,” she says. “You know, it’s just everybody enjoying the rhythm of El Rio, the music, the people, the environment. I love it.”\u003c/p>\n\n",
"disqusIdentifier": "10881844 http://ww2.kqed.org/news/?p=10881844",
"disqusUrl": "https://ww2.kqed.org/news/2016/04/17/my-spot-salsa-dancing-in-san-franciscos-mission-district/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 548,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1460771863,
"excerpt": "Irma Iñiguez, 66, discovered El Rio in her 30s and has been going there ever since.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Irma Iñiguez, 66, discovered El Rio in her 30s and has been going there ever since.",
"title": "My Spot: Salsa Dancing in San Francisco's Mission District | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "My Spot: Salsa Dancing in San Francisco's Mission District",
"datePublished": "2016-04-17T00:05:15-07:00",
"dateModified": "2016-04-15T18:57:43-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"guestAuthors": [],
"slug": "my-spot-salsa-dancing-in-san-franciscos-mission-district",
"status": "publish",
"nprByline": "Nicole West",
"path": "/news/10881844/my-spot-salsa-dancing-in-san-franciscos-mission-district",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For 66-year-old Irma Iñiguez, dancing salsa is like a drug. “It’s very addictive,” she says. You can find her every second and fourth Sunday of the month at a San Francisco club called \u003ca href=\"http://www.elriosf.com/\">El Rio\u003c/a> for “Salsa Sunday.”\u003c/p>\n\u003cp>The Mission District bar opened in 1978 and its website describes itself as a “Leather Brazilian Gay Bar.” As for Salsa Sundays, a live band plays salsa music as the patio swells with dancers, young and old.\u003c/p>\n\u003cp>Iñiguez, an El Rio regular for the last 30 years, has witnessed firsthand the transformation of the club and the neighborhood. Nowadays, she says, salsa music isn’t geared mainly toward Latinos. She says it crosses over to mix with different genres -- like reggae and rumba -- to attract different folks.\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/259318406&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/259318406'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“People of all ages come here,” Iñiguez explains. “Transplants come here. People that are trying to figure out if they want to live here come here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She says she has adapted to these changes with the help of life-long friends.\u003c/p>\n\u003cp>“There’s a group of us that I call the ‘Q-Tip heads,’ ” she says. “Of course, there’s those that dye their hair. But I know underneath that, they’re the Q-tip heads. And we all come here together. We dance together.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She even reconnected with high school friends at the bar and became Facebook friends.\u003c/p>\n\u003cp>Iñiguez, a Mexico City native, moved to the Mission with her family when she was 5 years old. As a child, she learned to dance from her father, who was also a dancer.\u003c/p>\n\u003cp>As a young adult, Iñiguez started going to dance clubs. She says the dancing was different from what she was used to.\u003c/p>\n\u003cp>“You know, everybody counted,” she recalls, “and they would ask me, ‘Do you dance on the eighth or the fourth?' and I was like, ‘I don’t know.’”\u003c/p>\n\u003cp>When she was in her 30s, she discovered El Rio and its “free spirit” atmosphere. She says you don’t have to worry about how you dance, “and everybody improvises and nobody cares if you stumble and fall.”\u003c/p>\n\u003cp>Around the time she discovered El Rio, Iñiguez became a salsa performer and was even the group’s personal makeup artist. Today she’s no longer performing in a salsa group, but you can still find her every “Salsa Sunday” on the El Rio dance floor sliding and swinging in the arms of other salsa dancers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And who cares if you’re a Q-tip head or a brown head or, you know, a black head or a red head, you know, nobody cares,” she says. “You know, it’s just everybody enjoying the rhythm of El Rio, the music, the people, the environment. I love it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10881844/my-spot-salsa-dancing-in-san-franciscos-mission-district",
"authors": [
"byline_news_10881844"
],
"programs": [
"news_72"
],
"series": [
"news_17120"
],
"categories": [
"news_223"
],
"tags": [
"news_18192",
"news_5270",
"news_17286"
],
"featImg": "news_10930493",
"label": "news_72"
},
"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"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=news": {
"isFetching": false,
"latestQuery": {
"from": 3072,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3759,
"relation": "eq"
},
"items": [
"arts_11505487",
"arts_11505351",
"news_10930485",
"news_10931190",
"news_10881844",
"pop_22477",
"arts_11496747",
"arts_11488076",
"arts_11494671",
"arts_11494264",
"arts_11493760",
"arts_11483009"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_news": {
"isLoading": true
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_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_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"news_6944": {
"type": "terms",
"id": "news_6944",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "6944",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/News-Fix-Logo-Web-Banners-04.png",
"name": "News Fix",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "The News Fix is a daily news podcast from KQED that breaks down the latest headlines and provides in-depth analysis of the stories that matter to the Bay Area.",
"title": "News Fix - Daily Dose of Bay Area News | KQED",
"ogDescription": null
},
"ttid": 6968,
"slug": "news-fix",
"isLoading": false,
"link": "/news/program/news-fix"
},
"news_223": {
"type": "terms",
"id": "news_223",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "223",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED News",
"ogDescription": null
},
"ttid": 231,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/news/category/arts-and-culture"
},
"news_8": {
"type": "terms",
"id": "news_8",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "8",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED News",
"ogDescription": null
},
"ttid": 8,
"slug": "news",
"isLoading": false,
"link": "/news/category/news"
},
"news_356": {
"type": "terms",
"id": "news_356",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "356",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Science",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Science Archives | KQED News",
"ogDescription": null
},
"ttid": 364,
"slug": "science",
"isLoading": false,
"link": "/news/category/science"
},
"news_993": {
"type": "terms",
"id": "news_993",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "993",
"found": true
},
"relationships": {},
"featImg": null,
"name": "1906 earthquake",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "1906 earthquake Archives | KQED News",
"ogDescription": null
},
"ttid": 1003,
"slug": "1906-earthquake",
"isLoading": false,
"link": "/news/tag/1906-earthquake"
},
"news_17826": {
"type": "terms",
"id": "news_17826",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17826",
"found": true
},
"relationships": {},
"featImg": null,
"name": "earthquakes",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "earthquakes Archives | KQED News",
"ogDescription": null
},
"ttid": 17860,
"slug": "earthquakes",
"isLoading": false,
"link": "/news/tag/earthquakes"
},
"news_2672": {
"type": "terms",
"id": "news_2672",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "2672",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Photography",
"description": "Witness the Bay Area through captivating images and compelling narratives. Explore the latest visually-driven storytelling by KQED and immerse yourself in the heart of our community.",
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Witness the Bay Area through captivating images and compelling narratives. Explore the latest visually-driven storytelling by KQED and immerse yourself in the heart of our community.",
"title": "Photography Archives | KQED News",
"ogDescription": null
},
"ttid": 2689,
"slug": "photography",
"isLoading": false,
"link": "/news/tag/photography"
},
"news_129": {
"type": "terms",
"id": "news_129",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "129",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED News",
"ogDescription": null
},
"ttid": 133,
"slug": "berkeley",
"isLoading": false,
"link": "/news/tag/berkeley"
},
"news_20013": {
"type": "terms",
"id": "news_20013",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "20013",
"found": true
},
"relationships": {},
"featImg": null,
"name": "education",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "education Archives | KQED News",
"ogDescription": null
},
"ttid": 20030,
"slug": "education",
"isLoading": false,
"link": "/news/tag/education"
},
"news_5078": {
"type": "terms",
"id": "news_5078",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "5078",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeleyside",
"description": "Berkeleyside is Berkeley, California’s independently owned local news site. We report on the extraordinary diversity of people, issues, events, food and environment in our city on the Bay.",
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Berkeleyside is Berkeley, California’s independently owned local news site. We report on the extraordinary diversity of people, issues, events, food and environment in our city on the Bay.",
"title": "Berkeleyside Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5099,
"slug": "berkeleyside-2",
"isLoading": false,
"link": "/news/affiliate/berkeleyside-2"
},
"news_72": {
"type": "terms",
"id": "news_72",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "72",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/TCR-2-Logo-Web-Banners-03.png",
"name": "The California Report",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The California Report Archives | KQED News",
"ogDescription": null
},
"ttid": 6969,
"slug": "the-california-report",
"isLoading": false,
"link": "/news/program/the-california-report"
},
"news_17120": {
"type": "terms",
"id": "news_17120",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17120",
"found": true
},
"relationships": {},
"featImg": null,
"name": "My Spot",
"description": "Do you have a place that's special to you in California?\r\n\r\n\"My Spot\" examines interesting and unique locations in the Golden State through personal experiences.\r\n\r\nIs there a California \"spot\" that's special to you? Send us an \u003ca href=\"mailto:calreport@kqed.org\">email\u003c/a>.",
"taxonomy": "series",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Do you have a place that's special to you in California? \"My Spot\" examines interesting and unique locations in the Golden State through personal experiences. Is there a California \"spot\" that's special to you? Send us an email.",
"title": "My Spot Archives | KQED News",
"ogDescription": null
},
"ttid": 17150,
"slug": "my-spot",
"isLoading": false,
"link": "/news/series/my-spot"
},
"news_18192": {
"type": "terms",
"id": "news_18192",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "18192",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dance",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "dance Archives | KQED News",
"ogDescription": null
},
"ttid": 18226,
"slug": "dance",
"isLoading": false,
"link": "/news/tag/dance"
},
"news_5270": {
"type": "terms",
"id": "news_5270",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "5270",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mission District",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mission District Archives | KQED News",
"ogDescription": null
},
"ttid": 5292,
"slug": "mission-district",
"isLoading": false,
"link": "/news/tag/mission-district"
},
"news_17286": {
"type": "terms",
"id": "news_17286",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17286",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tcr",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tcr Archives | KQED News",
"ogDescription": null
},
"ttid": 17318,
"slug": "tcr",
"isLoading": false,
"link": "/news/tag/tcr"
},
"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_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"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}