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
}
}
},
"news_10888676": {
"type": "attachments",
"id": "news_10888676",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10888676",
"found": true
},
"parent": 10888675,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/03/gettyimages-514031478_custom-e42f71a36067fa7bb3c69f83a1a0dabe9e3bb12e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/03/gettyimages-514031478_custom-e42f71a36067fa7bb3c69f83a1a0dabe9e3bb12e-400x260.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 260
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/03/gettyimages-514031478_custom-e42f71a36067fa7bb3c69f83a1a0dabe9e3bb12e-960x623.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 623
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/03/gettyimages-514031478_custom-e42f71a36067fa7bb3c69f83a1a0dabe9e3bb12e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/03/gettyimages-514031478_custom-e42f71a36067fa7bb3c69f83a1a0dabe9e3bb12e.jpg",
"width": 1686,
"height": 1094
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/03/gettyimages-514031478_custom-e42f71a36067fa7bb3c69f83a1a0dabe9e3bb12e-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/03/gettyimages-514031478_custom-e42f71a36067fa7bb3c69f83a1a0dabe9e3bb12e-800x519.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 519
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/03/gettyimages-514031478_custom-e42f71a36067fa7bb3c69f83a1a0dabe9e3bb12e-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/03/gettyimages-514031478_custom-e42f71a36067fa7bb3c69f83a1a0dabe9e3bb12e-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/03/gettyimages-514031478_custom-e42f71a36067fa7bb3c69f83a1a0dabe9e3bb12e-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/03/gettyimages-514031478_custom-e42f71a36067fa7bb3c69f83a1a0dabe9e3bb12e-1180x766.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 766
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/03/gettyimages-514031478_custom-e42f71a36067fa7bb3c69f83a1a0dabe9e3bb12e-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/03/gettyimages-514031478_custom-e42f71a36067fa7bb3c69f83a1a0dabe9e3bb12e-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1457386839,
"modified": 1457386839,
"caption": null,
"description": "A Hindu holy man in Kathmandu smokes a chillum, a traditional clay pipe, on March 6, the eve of a festival honoring the god Shiva.",
"title": "A Hindu holy man in Kathmandu smokes a chillum, a traditional clay pipe, on March 6, the eve of a festival honoring the god Shiva.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11378561": {
"type": "attachments",
"id": "arts_11378561",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11378561",
"found": true
},
"parent": 11378559,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/The_Unfortunates_edited-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/The_Unfortunates_edited.jpg",
"width": 528,
"height": 297
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/The_Unfortunates_edited-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/The_Unfortunates_edited-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/The_Unfortunates_edited-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/The_Unfortunates_edited-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/The_Unfortunates_edited-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1457085500,
"modified": 1457085658,
"caption": "(L to R) The Preacher (Arthur Wise), Big Joe (Ian Merrigan), and Koko (Eddie Lopez). Photo: Kevin Berne.",
"description": null,
"title": "The Unfortunates 05 Web",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11377508": {
"type": "attachments",
"id": "arts_11377508",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11377508",
"found": true
},
"parent": 11377173,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Pell-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Pell-400x266.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 266
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Pell-960x639.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 639
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Pell-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Pell.jpg",
"width": 1024,
"height": 682
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Pell-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Pell-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Pell-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Pell-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Pell-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Pell-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Pell-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1457048014,
"modified": 1457048070,
"caption": "Pell plays the New Parish March 8",
"description": "Pell plays the New Parish March 8",
"title": "Pell plays the New Parish March 8",
"credit": "Photo Credit: Courtesy of the artist",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11377502": {
"type": "attachments",
"id": "arts_11377502",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11377502",
"found": true
},
"parent": 11377501,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e.jpg",
"width": 3198,
"height": 1798
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/gaelynn-lea-promo-pic-1_wide-35344961a0e6ddbfb7f66e0bd634be4ffd8c450e-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1457047495,
"modified": 1457047495,
"caption": null,
"description": "Congratulations to Gaelynn Lea, the winner of the 2016 Tiny Desk Contest!",
"title": "Congratulations to Gaelynn Lea, the winner of the 2016 Tiny Desk Contest!",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11375249": {
"type": "attachments",
"id": "arts_11375249",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11375249",
"found": true
},
"parent": 11375129,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BlackestBlack-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BlackestBlack-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BlackestBlack-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BlackestBlack-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BlackestBlack.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BlackestBlack-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BlackestBlack-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BlackestBlack-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BlackestBlack-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BlackestBlack-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BlackestBlack-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BlackestBlack-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BlackestBlack-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BlackestBlack-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/BlackestBlack-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1456971373,
"modified": 1456971427,
"caption": "The blackest black Photoshop can make, an ignoble approximation of Vantablack. ",
"description": null,
"title": "BlackestBlack",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11375013": {
"type": "attachments",
"id": "arts_11375013",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11375013",
"found": true
},
"parent": 11374908,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Curry-WOUKL-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Curry-WOUKL-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Curry-WOUKL-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Curry-WOUKL-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Curry-WOUKL.jpg",
"width": 1799,
"height": 1012
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Curry-WOUKL-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Curry-WOUKL-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Curry-WOUKL-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Curry-WOUKL-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Curry-WOUKL-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Curry-WOUKL-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Curry-WOUKL-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Curry-WOUKL-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Curry-WOUKL-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1456964016,
"modified": 1456964082,
"caption": "'Worlds of Ursula K Le Guin' director Arwen Curry and SciFi author Le Guin ",
"description": "'Worlds of Ursula K Le Guin' director Arwen Curry and SciFi author Le Guin ",
"title": "Curry-WOUKL",
"credit": "Courtesy: Arwen Curry",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11370951": {
"type": "attachments",
"id": "arts_11370951",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11370951",
"found": true
},
"parent": 11370839,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Macbethrightone-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Macbethrightone-400x237.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 237
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Macbethrightone-960x570.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 570
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Macbethrightone-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Macbethrightone.jpg",
"width": 3652,
"height": 2168
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Macbethrightone-1180x701.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 701
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Macbethrightone-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Macbethrightone-800x475.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 475
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Macbethrightone-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Macbethrightone-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Macbethrightone-1920x1140.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1140
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Macbethrightone-1180x701.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 701
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Macbethrightone-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Macbethrightone-768x456.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 456
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/Macbethrightone-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1456822661,
"modified": 1456822706,
"caption": "(L to R) Macbeth (Conleth Hill) confers with Lady Macbeth (Frances McDormand). Photo: Kevin Berne.",
"description": null,
"title": "Macbethrightone",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11375015": {
"type": "attachments",
"id": "arts_11375015",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11375015",
"found": true
},
"parent": 11374909,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18694_DmitryEtAl.JPG-qut-e1456966720397-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18694_DmitryEtAl.JPG-qut-e1456966720397-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18694_DmitryEtAl.JPG-qut-e1456966720397-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18694_DmitryEtAl.JPG-qut-e1456966720397-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18694_DmitryEtAl.JPG-qut-e1456966720397.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18694_DmitryEtAl.JPG-qut-e1456966720397-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18694_DmitryEtAl.JPG-qut-e1456966720397-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18694_DmitryEtAl.JPG-qut-e1456966720397-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18694_DmitryEtAl.JPG-qut-e1456966720397-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18694_DmitryEtAl.JPG-qut-e1456966720397-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18694_DmitryEtAl.JPG-qut-e1456966720397-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18694_DmitryEtAl.JPG-qut-e1456966720397-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18694_DmitryEtAl.JPG-qut-e1456966720397-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18694_DmitryEtAl.JPG-qut-e1456966720397-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RS18694_DmitryEtAl.JPG-qut-e1456966720397-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1456964152,
"modified": 1457734411,
"caption": "Larry Chavez (l), Dmitry Piterman (c) and Marc Del Piero (r) celebrate plans to remake the Museum of Monterey as a showcase for Piterman's extensive collection of works by Salvador Dalí.",
"description": "Larry Chavez (l), Dmitry Piterman (c) and Marc Del Piero (r) celebrate plans to remake the Museum of Monterey as a showcase for Piterman's extensive collection of works by Salvador Dalí.",
"title": "RS18694_DmitryEtAl.JPG-qut",
"credit": "Courtesy: Katya Semmes ",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11374703": {
"type": "attachments",
"id": "arts_11374703",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11374703",
"found": true
},
"parent": 11374700,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RobinWilliams-tunnelCROP-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RobinWilliams-tunnelCROP-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RobinWilliams-tunnelCROP-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RobinWilliams-tunnelCROP-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RobinWilliams-tunnelCROP.jpg",
"width": 1024,
"height": 576
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RobinWilliams-tunnelCROP-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RobinWilliams-tunnelCROP-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RobinWilliams-tunnelCROP-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RobinWilliams-tunnelCROP-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RobinWilliams-tunnelCROP-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RobinWilliams-tunnelCROP-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/03/RobinWilliams-tunnelCROP-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1456952970,
"modified": 1456953012,
"caption": "New sign for Robin Williams tunnel",
"description": "New sign for Robin Williams tunnel",
"title": "RobinWilliams tunnelCROP",
"credit": "Courtesy: Caltrans",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10883095": {
"type": "attachments",
"id": "news_10883095",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10883095",
"found": true
},
"parent": 10879280,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/02/BudAndErnesto-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/02/BudAndErnesto-400x320.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 320
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/02/BudAndErnesto-960x768.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 768
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/02/BudAndErnesto-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/02/BudAndErnesto.jpg",
"width": 1920,
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/02/BudAndErnesto-1920x1536.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1536
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/02/BudAndErnesto-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/02/BudAndErnesto-800x640.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 640
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/02/BudAndErnesto-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/02/BudAndErnesto-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/02/BudAndErnesto-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/02/BudAndErnesto-1920x1536.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1536
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/02/BudAndErnesto-1180x944.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 944
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/02/BudAndErnesto-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2016/02/BudAndErnesto-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1456872713,
"modified": 1456882081,
"caption": "\"Bordertown\" is based on next door neighbors in a fictional bordertown: the Buckwalds and Gonzalezes. Bud Buckwald (L) is a border patrol agent. Ernesto Gonzalez, a gardener, is his family's patriarch.",
"description": "\"Bordertown\" is based on next door neighbors in a fictional bordertown: the Buckwalds and Gonzalezes. Bud Buckwald (L) is a border patrol agent. Ernesto Gonzalez, a gardener, is his family's patriarch.",
"title": "BudAndErnesto",
"credit": "Courtesy Fox",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11316818": {
"type": "attachments",
"id": "arts_11316818",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11316818",
"found": true
},
"parent": 11316584,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Coltrane_CROP-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Coltrane_CROP-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Coltrane_CROP.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Coltrane_CROP-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Coltrane_CROP-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Coltrane_CROP-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Coltrane_CROP-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Coltrane_CROP-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Coltrane_CROP-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/Coltrane_CROP-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1455148533,
"modified": 1455148595,
"caption": "A piece of John Coltrane -inspired art from the St. John Will I Am Coltrane African Orthodox Church",
"description": "A piece of John Coltrane -inspired art from the St. John Will I Am Coltrane African Orthodox Church",
"title": "Coltrane_CROP",
"credit": "Courtesy: St. John Will I Am Coltrane African Orthodox Church",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11300055": {
"type": "attachments",
"id": "arts_11300055",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11300055",
"found": true
},
"parent": 11300054,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ap_615005467773_wide-87a352588e3da7cf48d4f606890ae278af31f985-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ap_615005467773_wide-87a352588e3da7cf48d4f606890ae278af31f985-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ap_615005467773_wide-87a352588e3da7cf48d4f606890ae278af31f985-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ap_615005467773_wide-87a352588e3da7cf48d4f606890ae278af31f985-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ap_615005467773_wide-87a352588e3da7cf48d4f606890ae278af31f985-e1464733628124.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ap_615005467773_wide-87a352588e3da7cf48d4f606890ae278af31f985-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ap_615005467773_wide-87a352588e3da7cf48d4f606890ae278af31f985-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ap_615005467773_wide-87a352588e3da7cf48d4f606890ae278af31f985-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ap_615005467773_wide-87a352588e3da7cf48d4f606890ae278af31f985-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ap_615005467773_wide-87a352588e3da7cf48d4f606890ae278af31f985-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ap_615005467773_wide-87a352588e3da7cf48d4f606890ae278af31f985-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ap_615005467773_wide-87a352588e3da7cf48d4f606890ae278af31f985-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ap_615005467773_wide-87a352588e3da7cf48d4f606890ae278af31f985-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ap_615005467773_wide-87a352588e3da7cf48d4f606890ae278af31f985-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/02/ap_615005467773_wide-87a352588e3da7cf48d4f606890ae278af31f985-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1454574067,
"modified": 1454574148,
"caption": "Bill Cosby arrives for a court appearance on Wednesday in Norristown, Pa. The judge has ruled that the case against him will proceed, despite a claim that he was promised immunity a decade ago.",
"description": "Bill Cosby arrives for a court appearance on Wednesday in Norristown, Pa. The judge has ruled that the case against him will proceed, despite a claim that he was promised immunity a decade ago.",
"title": "Bill Cosby arrives for a court appearance Wednesday in Norristown, Pa. The judge has ruled that the case against him will proceed, despite a claim that he was promised immunity a decade ago.",
"credit": "Photo: Ed Hille-Pool/Getty Images",
"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_news_10888675": {
"type": "authors",
"id": "byline_news_10888675",
"meta": {
"override": true
},
"slug": "byline_news_10888675",
"name": "\u003cstrong>Danielle Preiss\u003cbr />\u003ca href=\"http://www.npr.org/sections/goatsandsoda/\" target=\"_blank\">NPR/Goats and Soda\u003c/a>\u003c/strong>",
"isLoading": false
},
"byline_arts_11377501": {
"type": "authors",
"id": "byline_arts_11377501",
"meta": {
"override": true
},
"slug": "byline_arts_11377501",
"name": "Bob Boilen",
"isLoading": false
},
"byline_arts_11374700": {
"type": "authors",
"id": "byline_arts_11374700",
"meta": {
"override": true
},
"slug": "byline_arts_11374700",
"name": "Associated Press",
"isLoading": false
},
"byline_arts_11372194": {
"type": "authors",
"id": "byline_arts_11372194",
"meta": {
"override": true
},
"slug": "byline_arts_11372194",
"name": "Maryclaire Dale, Associated Press",
"isLoading": false
},
"cmusiker": {
"type": "authors",
"id": "32",
"meta": {
"index": "authors_1716337520",
"id": "32",
"found": true
},
"name": "Cy Musiker",
"firstName": "Cy",
"lastName": "Musiker",
"slug": "cmusiker",
"email": "cmusiker@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Cy Musiker is a former co-host of The Do List and a former reporter covering the arts for KQED News and The California Report. He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.",
"avatar": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cy Musiker | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmusiker"
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"rachael-myrow": {
"type": "authors",
"id": "251",
"meta": {
"index": "authors_1716337520",
"id": "251",
"found": true
},
"name": "Rachael Myrow",
"firstName": "Rachael",
"lastName": "Myrow",
"slug": "rachael-myrow",
"email": "rmyrow@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Senior Editor of KQED's Silicon Valley News Desk",
"bio": "• I write and edit stories about how Silicon Valley power and policies shape everyday life in California. I’m also passionate about making Bay Area history and culture more accessible to a broad public. • I’ve been a journalist for most of my life, starting in high school with The Franklin Press in Los Angeles, where I grew up. While earning my first degree in English at UC Berkeley, I got my start in public radio at KALX-FM. After completing a second degree in journalism at Cal, I landed my first professional job at Marketplace, then moved on to KPCC (now LAist), and then KQED, where I hosted The California Report for more than seven years. • My reporting has appeared on NPR, The World, WBUR’s \u003ci>Here & Now\u003c/i>, and the BBC. I also guest host for KQED’s \u003ci>Forum\u003c/i>, as well as the Commonwealth Club in San Francisco. • I speak periodically on media, democracy and technology issues, and do voiceover work for documentaries and educational video projects. • Outside of the studio, you'll find me hiking Bay Area trails and whipping up Insta-ready meals in my kitchen. • I do not accept gifts, money, or favors from anyone connected to my reporting, I don't pay people for information, and I do not support or donate to political causes. • I strive to treat the people I report on with fairness, honesty, and respect. I also recognize there are often multiple sides to a story and work to verify information through multiple sources and documentation. If I get something wrong, I correct it.",
"avatar": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twitter": "rachaelmyrow",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": "https://www.linkedin.com/in/rachaelmyrow/",
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"edit_others_posts",
"editor"
]
},
{
"site": "futureofyou",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"author"
]
}
],
"headData": {
"title": "Rachael Myrow | KQED",
"description": "Senior Editor of KQED's Silicon Valley News Desk",
"ogImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/rachael-myrow"
},
"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"
},
"qkim": {
"type": "authors",
"id": "11099",
"meta": {
"index": "authors_1716337520",
"id": "11099",
"found": true
},
"name": "Queena Sook Kim",
"firstName": "Queena",
"lastName": "Kim",
"slug": "qkim",
"email": "qkim@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"news"
],
"title": "Senior Editor",
"bio": "\u003cspan style=\"font-weight: 400;\">Queena Sook Kim is a former senior editor of the weekend desk at KQED. Before taking on that post, she was the Senior Editor of the Silicon Valley Desk and was the \u003c/span>\u003cspan style=\"font-weight: 400;\">host of The California Report. The daily morning show airs on KQED in San Francisco, one of the nation’s largest NPR affiliates, and on 30 stations across the state. In that role, she produces and reports on news, politics and life in the Golden State. Queena likes to take sideways look at the larger trends changing the state. One of her favorite stories asked\u003c/span>\u003ca href=\"https://ww2.kqed.org/news/2015/02/15/why-the-heck-do-mexican-reporters-on-public-radio-say-their-names-that-way\"> \u003cspan style=\"font-weight: 400;\">why Latino journalists “over’pronounce” their Spanish surnames\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> as a way of looking at how immigration is creating a culture shift in California.\u003c/span>\r\n\r\n\u003cspan style=\"font-weight: 400;\">Before joining The California Report, Queena was a \u003ca href=\"http://www.marketplace.org/people/queena-kim\">Senior Reporter covering technology for Marketplace\u003c/a>, the daily business show that airs on public radio. Queena covered daily tech business stories and reported on larger technology trends. She did a series of stories looking at role of social engineering in hacking and on a start-up in Silicon Valley that’s trying to use technology, instead of animals, to make meat that bleeds.\u003c/span>\r\n\r\n\u003cspan style=\"font-weight: 400;\">Queena started her career as a business journalist at the Wall Street Journal, where she spent four years covering the paper, home building and toy industries. She wrote A1 stories about the unusually aggressive tactics KB Home took against its home buyers. and the resurgence of “Cracker” architecture in Florida. She also wrote section front stories on marketing trends and\u003c/span>\r\n\r\n\u003cspan style=\"font-weight: 400;\">As a journalist, Queena has spent much of her career helping start-up editorial products. She was on the founding editorial team of The Bay Citizen, an experimental, online news site in San Francisco that was funded by the late hillbilly billionaire Warren Hellman. In 2009, Queena received a grant from the Corporation of Public Broadcasting to start-up a podcast called \u003ca href=\"https://soundcloud.com/cyberfrequencies\">CyberFrequencies\u003c/a>, which reported on the culture of technology. She also helped start-up two radio shows - Off-Ramp and Pacific Drift - for KPCC, the NPR-affiliate in Los Angeles. Off-Ramp was awarded 1st Place for news and Public Affairs programming by the PRINDI and the L.A. Press club. \u003ca href=\"https://soundcloud.com/queena-sook-kim\">Queena’s stories have appeared \u003c/a>on NPR’s Day to Day, Hearing Voices, WNYC’s Studio 360, WBUR’s Here and Now, BBC’s Global Perspectives and New York Times’ multimedia page.\u003c/span>\r\n\r\n\u003cspan style=\"font-weight: 400;\">In 1994, Queena won a Fulbright Grant to teach and study in Seoul, South Korea. She was also selected to be a Teach For America Corps Member in 1991 and taught elementary school in the Inglewood Unified School District in Southern California.\u003c/span>\r\n\r\n\u003cspan style=\"font-weight: 400;\">Queena is a frequent public speaker and has given talks at UC Berkeley, Stanford University, San Francisco State University, PRINDI conference and the Craigslist Foundation Boot Camp. Queena went to UC Berkeley’s Graduate School of Journalism and graduated cum laude from New York University with a B.A. in Politics. She grew up in Southern California and lives in Berkeley, Ca in a big fixer on which she spends most weekends, well, fixing.\u003c/span>",
"avatar": "https://secure.gravatar.com/avatar/b72382fd0db351b99f8a31939f4853fc?s=600&d=blank&r=g",
"twitter": "queenasookkim",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "forum",
"roles": [
"author"
]
},
{
"site": "breakingnews",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Queena Sook Kim | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/b72382fd0db351b99f8a31939f4853fc?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/b72382fd0db351b99f8a31939f4853fc?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/qkim"
}
},
"pagesReducer": {
"arts_category_news": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"score": 10.81584
},
"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": 264
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=news",
"seeMore": false,
"paginated": true,
"page": 264
}
},
{
"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": "/"
}
},
"news_10888675": {
"type": "posts",
"id": "news_10888675",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10888675",
"score": null,
"sort": [
1457387579000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 6944
},
"blocks": [],
"publishDate": 1457387579,
"format": "standard",
"disqusTitle": "Shiva Is a God Who Likes Pot — and So Do Many of His Followers",
"title": "Shiva Is a God Who Likes Pot — and So Do Many of His Followers",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>Shiva is one chill deity.\u003c/p>\n\u003cp>He's one of the three major gods in the Hindu religion. And he has a penchant for pot.\u003c/p>\n\u003cp>\"Shiva loves marijuana. So we come to share Shiva's prasad [offerings] with everyone else,\" explains a 60-year-old holy man who gives his name as Radhe Baba.\u003c/p>\n\u003cp>It's the eve of the festival of Shiva Ratri, or \"The Night of Shiva\" — March 7 this year. The celebration marks the day Shiva saved the universe from darkness and married the goddess Parvati.\u003c/p>\n\u003cp>Groups of dreadlocked Hindu ascetics sit around small smoky fires puffing on clay pipes at Nepal's holiest Hindu temple. Hundreds of holy men (and some women) have traveled from around Nepal and India to reach the Pashupati temple for the festival. They spend the days before the holiday alternately praying and lounging to prepare to commune with Shiva.\u003ca href=\"#_msocom_2\" name=\"_msoanchor_2\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And they also smoke hashish. Marijuana smoke mingles with the bonfires. Both are symbols of religious devotion. \u003ca href=\"469519964\">Shiva\u003c/a>, it's believed, used marijuana both to relax and to focus better for meditation.\u003c/p>\n\u003cp>It's scenes like this that made Kathmandu famous among hippies. Indeed a few days before Shiva Ratri, Pashupatinath had the vibe of a relaxed music festival. It's a little more like Bonnaroo by the time over \u003ca href=\"http://kathmandupost.ekantipur.com/news/2016-03-06/11-m-visitors-5000-sadhus-expected-to-visit-pashupati-this-shivaratri.html\">a million devotees\u003c/a> have arrived for the big day.\u003c/p>\n\u003cp>\"That [smoking marijuana] makes us forget everything and we communicate with Shiva,\" 50-year-old Madhan Lal Baba says, sitting next to Radhe.\u003c/p>\n\u003cp>The two have traveled with a group of holy men from Benares, India, and said that the Indian government even gave them some money to make the trip. As ascetics, they've renounced possessions and survive off stipends from the temples and alms from devotees.\u003c/p>\n\u003cp>The marijuana helps stave off worldly desires, they say. Sharing the \"prasad\" – in this case, the weed --\u003ca href=\"#_msocom_4\" name=\"_msoanchor_4\">\u003c/a> shows their love for Shiva, Madhan Lal explains.\u003c/p>\n\u003cp>\"Baba, do you have prasad?\" a visitor asks a seated holy man.\u003c/p>\n\u003cp>\"Sit, smoke, relax,\" the holy man responds, gesturing to the stone temple steps next to him and packing a conical clay pipe, called a chillum, with hashish. The holy man smears ashes on the visitor's forehead with his thumb as a blessing and offers a puff on the pipe, for which the man hands him some rupees.\u003c/p>\n\u003cp>Though the temple authorities insist they are \u003ca href=\"http://kathmandupost.ekantipur.com/news/2016-03-07/preps-over-for-shivaratri-today.html\">cracking down on the drug use\u003c/a>, marijuana consumption is considered acceptable on the day of the holiday. \"The police don't say anything because it's Shiva Ratri, and we're giving [marijuana] to Shiva followers,\" Madhan Lal says. But not everyone indulges. Many of the pilgrims simply visit the temple to make offerings and pray.\u003c/p>\n\u003cp>Devotees also light bonfires to warm Shiva and signify the end of winter. Fire is holy in Hinduism. But touching the fire with unclean things is thought to pollute it. So the holy men cup their hands around the base of their pipes and suck the smoke through. This prevents their lips from polluting it.\u003c/p>\n\u003cp>\"Fire represents God,\" Ram Das Bairagi explains. \"We do [bonfires]\u003ca href=\"#_msocom_6\" name=\"_msoanchor_6\">\u003c/a> for Shiva, to call him. Maybe he will see the fire.\" Bairagi, an ascetic who lives at Pashupati temple year-round, has wrapped his long dreadlocks in a leopard print scarf, representing the animal skin Shiva wears. His body is white from ashes, taken from the cremation sites at the temple. As one of the holiest Hindu temples, Pashupati is used daily for cremations.\u003c/p>\n\u003cp>\"These are ashes of cremated bodies. They represent homeless people, animals, mentally disabled people,\" says another man who'd spread ashes on his body. He gives his name as Dandi Baba. Wearing the ashes allows these different entities to attend the wedding of Shiva and Parvati, he explains.\u003c/p>\n\u003cp>According to legend, Shiva Ratri is the night when Shiva married his bride and experienced the beauty of love and pleasure of sex for the first time. Though Shiva is associated with sex and creation, many of his most devout followers remain celibate.\u003c/p>\n\u003cp>\"My life is fully dedicated to Shiva. I have no wife, no family. The first thing I knew was Shiva,\" says 72-year-old Dandi Baba.\u003c/p>\n\u003cp>\"God is such a mysterious thing, but you have to follow it because it's inside you,\" he adds. \"We don't follow money or day-to-day things. They're not important; you don't need those things. The only thing humans need is to share love with each other and share our culture.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And then he passes the pipe.\u003ca href=\"#_msocom_10\" name=\"_msoanchor_10\">\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shiva+Is+A+God+Who+Likes+Marijuana+%E2%80%94+And+So+Do+Many+Of+His+Followers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
"disqusIdentifier": "10888675 http://ww2.kqed.org/news/?p=10888675",
"disqusUrl": "https://ww2.kqed.org/news/2016/03/07/shiva-is-a-god-who-likes-pot-and-so-do-many-of-his-followers/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 774,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1457388672,
"excerpt": "At a festival celebrating the Hindi god today in Nepal, many of the holy men and women follow in the footsteps of the deity and have a little hashish.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "At a festival celebrating the Hindi god today in Nepal, many of the holy men and women follow in the footsteps of the deity and have a little hashish.",
"title": "Shiva Is a God Who Likes Pot — and So Do Many of His Followers | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Shiva Is a God Who Likes Pot — and So Do Many of His Followers",
"datePublished": "2016-03-07T13:52:59-08:00",
"dateModified": "2016-03-07T14:11:12-08:00",
"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": "shiva-is-a-god-who-likes-pot-and-so-do-many-of-his-followers",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=469519964&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "\u003cstrong>Danielle Preiss\u003cbr />\u003ca href=\"http://www.npr.org/sections/goatsandsoda/\" target=\"_blank\">NPR/Goats and Soda\u003c/a>\u003c/strong>",
"nprStoryDate": "Mon, 07 Mar 2016 15:10:00 -0500",
"nprLastModifiedDate": "Mon, 07 Mar 2016 15:16:21 -0500",
"nprHtmlLink": "http://www.npr.org/sections/goatsandsoda/2016/03/07/469519964/shiva-is-a-god-who-likes-marijuana-and-so-do-many-of-his-followers?ft=nprml&f=469519964",
"nprImageAgency": "AFP/Getty Images",
"nprImageCredit": "Prkash Mathema ",
"nprStoryId": "469519964",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 07 Mar 2016 15:13:00 -0500",
"path": "/news/10888675/shiva-is-a-god-who-likes-pot-and-so-do-many-of-his-followers",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shiva is one chill deity.\u003c/p>\n\u003cp>He's one of the three major gods in the Hindu religion. And he has a penchant for pot.\u003c/p>\n\u003cp>\"Shiva loves marijuana. So we come to share Shiva's prasad [offerings] with everyone else,\" explains a 60-year-old holy man who gives his name as Radhe Baba.\u003c/p>\n\u003cp>It's the eve of the festival of Shiva Ratri, or \"The Night of Shiva\" — March 7 this year. The celebration marks the day Shiva saved the universe from darkness and married the goddess Parvati.\u003c/p>\n\u003cp>Groups of dreadlocked Hindu ascetics sit around small smoky fires puffing on clay pipes at Nepal's holiest Hindu temple. Hundreds of holy men (and some women) have traveled from around Nepal and India to reach the Pashupati temple for the festival. They spend the days before the holiday alternately praying and lounging to prepare to commune with Shiva.\u003ca href=\"#_msocom_2\" name=\"_msoanchor_2\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And they also smoke hashish. Marijuana smoke mingles with the bonfires. Both are symbols of religious devotion. \u003ca href=\"469519964\">Shiva\u003c/a>, it's believed, used marijuana both to relax and to focus better for meditation.\u003c/p>\n\u003cp>It's scenes like this that made Kathmandu famous among hippies. Indeed a few days before Shiva Ratri, Pashupatinath had the vibe of a relaxed music festival. It's a little more like Bonnaroo by the time over \u003ca href=\"http://kathmandupost.ekantipur.com/news/2016-03-06/11-m-visitors-5000-sadhus-expected-to-visit-pashupati-this-shivaratri.html\">a million devotees\u003c/a> have arrived for the big day.\u003c/p>\n\u003cp>\"That [smoking marijuana] makes us forget everything and we communicate with Shiva,\" 50-year-old Madhan Lal Baba says, sitting next to Radhe.\u003c/p>\n\u003cp>The two have traveled with a group of holy men from Benares, India, and said that the Indian government even gave them some money to make the trip. As ascetics, they've renounced possessions and survive off stipends from the temples and alms from devotees.\u003c/p>\n\u003cp>The marijuana helps stave off worldly desires, they say. Sharing the \"prasad\" – in this case, the weed --\u003ca href=\"#_msocom_4\" name=\"_msoanchor_4\">\u003c/a> shows their love for Shiva, Madhan Lal explains.\u003c/p>\n\u003cp>\"Baba, do you have prasad?\" a visitor asks a seated holy man.\u003c/p>\n\u003cp>\"Sit, smoke, relax,\" the holy man responds, gesturing to the stone temple steps next to him and packing a conical clay pipe, called a chillum, with hashish. The holy man smears ashes on the visitor's forehead with his thumb as a blessing and offers a puff on the pipe, for which the man hands him some rupees.\u003c/p>\n\u003cp>Though the temple authorities insist they are \u003ca href=\"http://kathmandupost.ekantipur.com/news/2016-03-07/preps-over-for-shivaratri-today.html\">cracking down on the drug use\u003c/a>, marijuana consumption is considered acceptable on the day of the holiday. \"The police don't say anything because it's Shiva Ratri, and we're giving [marijuana] to Shiva followers,\" Madhan Lal says. But not everyone indulges. Many of the pilgrims simply visit the temple to make offerings and pray.\u003c/p>\n\u003cp>Devotees also light bonfires to warm Shiva and signify the end of winter. Fire is holy in Hinduism. But touching the fire with unclean things is thought to pollute it. So the holy men cup their hands around the base of their pipes and suck the smoke through. This prevents their lips from polluting it.\u003c/p>\n\u003cp>\"Fire represents God,\" Ram Das Bairagi explains. \"We do [bonfires]\u003ca href=\"#_msocom_6\" name=\"_msoanchor_6\">\u003c/a> for Shiva, to call him. Maybe he will see the fire.\" Bairagi, an ascetic who lives at Pashupati temple year-round, has wrapped his long dreadlocks in a leopard print scarf, representing the animal skin Shiva wears. His body is white from ashes, taken from the cremation sites at the temple. As one of the holiest Hindu temples, Pashupati is used daily for cremations.\u003c/p>\n\u003cp>\"These are ashes of cremated bodies. They represent homeless people, animals, mentally disabled people,\" says another man who'd spread ashes on his body. He gives his name as Dandi Baba. Wearing the ashes allows these different entities to attend the wedding of Shiva and Parvati, he explains.\u003c/p>\n\u003cp>According to legend, Shiva Ratri is the night when Shiva married his bride and experienced the beauty of love and pleasure of sex for the first time. Though Shiva is associated with sex and creation, many of his most devout followers remain celibate.\u003c/p>\n\u003cp>\"My life is fully dedicated to Shiva. I have no wife, no family. The first thing I knew was Shiva,\" says 72-year-old Dandi Baba.\u003c/p>\n\u003cp>\"God is such a mysterious thing, but you have to follow it because it's inside you,\" he adds. \"We don't follow money or day-to-day things. They're not important; you don't need those things. The only thing humans need is to share love with each other and share our culture.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And then he passes the pipe.\u003ca href=\"#_msocom_10\" name=\"_msoanchor_10\">\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shiva+Is+A+God+Who+Likes+Marijuana+%E2%80%94+And+So+Do+Many+Of+His+Followers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10888675/shiva-is-a-god-who-likes-pot-and-so-do-many-of-his-followers",
"authors": [
"byline_news_10888675"
],
"programs": [
"news_6944"
],
"categories": [
"news_223"
],
"tags": [
"news_102"
],
"featImg": "news_10888676",
"label": "news_6944"
},
"arts_11378559": {
"type": "posts",
"id": "arts_11378559",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11378559",
"score": null,
"sort": [
1457193652000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1457193652,
"format": "standard",
"title": "ACT's 'The Unfortunates' Attempts to Impress with Gimmicks",
"headTitle": "ACT’s ‘The Unfortunates’ Attempts to Impress with Gimmicks | KQED",
"content": "\u003cp>Big Joe’s a fighter and a braggart. He’s young, fearless, and on the make. Joe doesn’t think much and he’s ready for anything, which could describe most young men. So when an army recruiter asks him if he’s got the nerve for war while promising a little female company for his troubles, Big Joe signs up and eggs his friends to join in on the fun, too. He’s ready for adventure. And he’ll get that, just not in the way he imagines.\u003c/p>\n\u003cp>The naïf who goes to war is an old story and has produced some great theater — Falstaff in the \u003cem>Henry\u003c/em> plays, Brecht’s \u003cem>A Man’s a Man\u003c/em>, David Rabe’s \u003cem>The Basic Training of Pavlo Hummel\u003c/em>, and Charles Wood’s \u003cem>Dingo, \u003c/em>to name a few. This familiar premise launches \u003cem>The Unfortunates\u003c/em>, a blues, gospel, hip-hop musical by Jon Beavers, Kristoffer Diaz, Casey Hurt, Ian Merrigan, and Ramiz Monsef that aims to be nothing less than a surreal odyssey into the soul of a condemned man. A hit at the Oregon Shakespeare Festival, the musical’s creators have retooled the show under the aegis of San Francisco’s American Conservatory Theater, and its greatest and most striking asset has to be Big Joe’s hands.\u003c/p>\n\u003cp>The massive prop hands worn by actor Ian Merrigan in the role of Big Joe are possibly 10 times the size of a normal man’s hands. And they’re uncommonly beautiful, but no one ever mentions the gorgeousness of Big Joe’s hands in \u003cem>The Unfortunates. \u003c/em>Not even Big Joe and his girlfriend, Rae (a woman who, for reasons unclear to us, has no arms). But those fists are magical to behold, and you want to reach out and touch them and see how they differ from and work like actual hands. Somewhere between costume and prop, but verging on character, Big Joe’s hands are the story that \u003cem>The Unfortunates\u003c/em> doesn’t have the discipline or vision to take on.\u003c/p>\n\u003cp>You can tell how well-rehearsed the show is. But in its soul, the musical comes across as sloppy, haphazard, and overbearing—a series of ideas about what an epic should be instead of the thing itself. There’s a problem when every number is the “big number” and every scene is climactic. And so when Big Joe rolls the dice for his life, or fights a corrupt doctor, or watches a friend die, it’s all played at the same fevered pitch. It’s as if the entire production is afraid to let the story slow down and\u003cem> just be\u003c/em> — a crucial aspect to any odyssey.\u003c/p>\n\u003cp>The score’s mélange of blues, gospel, and hip-hop is \u003cem>The Unfortunates’\u003c/em> most telling failure. These are genres of daring and danger, and aren’t particularly amenable to pastiche. Great blues, rap and gospel singers perform with the whole of their beings. But the performances here are surface imitations, mere gestures compared to more committed artists and art.\u003cstrong> \u003c/strong>And so many of the numbers feel like a put on, like YouTube stunts featuring preschoolers pretending to be gangster rappers. Part of the issue is the performers’ lack of skill: enthusiasm and hitting your cues is no substitute for talent and authenticity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The deeper problem, though, is one of idiom. The show’s creators never find a way to tell a story about a man with big hands and so they barrage us with sensation — the sensation of the blues’ deep yearning, the sensation of rap’s anger, the sensation of gospel’s spiritual transcendence, and, most crudely, the sensation of significance. What \u003cem>The Unfortunates\u003c/em> demands from us isn’t understanding, but rather awe. Over and over we’re urged to applaud, whether it be elementary tap dancing, showy singing, or one of the many melodramatic death scenes. But these are gimmicks: they have neither meaning nor a way into actual experience. They’re simply the noise that keeps us from the beauty of Big Joe’s hands.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Unfortunates\u003c/em> runs through April 10th at the Strand Theater in San Francisco. For tickets and information go to www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 773,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705044935,
"excerpt": "The war-themed blues-gospel-rap musical from the Oregon Shakespeare Festival layers on effects but doesn't deliver on meaning",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The war-themed blues-gospel-rap musical from the Oregon Shakespeare Festival layers on effects but doesn't deliver on meaning",
"title": "ACT's 'The Unfortunates' Attempts to Impress with Gimmicks | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "ACT's 'The Unfortunates' Attempts to Impress with Gimmicks",
"datePublished": "2016-03-05T08:00:52-08:00",
"dateModified": "2024-01-11T23:35:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "acts-the-unfortunates-attempts-to-impress-with-gimmicks",
"status": "publish",
"sticky": false,
"path": "/arts/11378559/acts-the-unfortunates-attempts-to-impress-with-gimmicks",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Big Joe’s a fighter and a braggart. He’s young, fearless, and on the make. Joe doesn’t think much and he’s ready for anything, which could describe most young men. So when an army recruiter asks him if he’s got the nerve for war while promising a little female company for his troubles, Big Joe signs up and eggs his friends to join in on the fun, too. He’s ready for adventure. And he’ll get that, just not in the way he imagines.\u003c/p>\n\u003cp>The naïf who goes to war is an old story and has produced some great theater — Falstaff in the \u003cem>Henry\u003c/em> plays, Brecht’s \u003cem>A Man’s a Man\u003c/em>, David Rabe’s \u003cem>The Basic Training of Pavlo Hummel\u003c/em>, and Charles Wood’s \u003cem>Dingo, \u003c/em>to name a few. This familiar premise launches \u003cem>The Unfortunates\u003c/em>, a blues, gospel, hip-hop musical by Jon Beavers, Kristoffer Diaz, Casey Hurt, Ian Merrigan, and Ramiz Monsef that aims to be nothing less than a surreal odyssey into the soul of a condemned man. A hit at the Oregon Shakespeare Festival, the musical’s creators have retooled the show under the aegis of San Francisco’s American Conservatory Theater, and its greatest and most striking asset has to be Big Joe’s hands.\u003c/p>\n\u003cp>The massive prop hands worn by actor Ian Merrigan in the role of Big Joe are possibly 10 times the size of a normal man’s hands. And they’re uncommonly beautiful, but no one ever mentions the gorgeousness of Big Joe’s hands in \u003cem>The Unfortunates. \u003c/em>Not even Big Joe and his girlfriend, Rae (a woman who, for reasons unclear to us, has no arms). But those fists are magical to behold, and you want to reach out and touch them and see how they differ from and work like actual hands. Somewhere between costume and prop, but verging on character, Big Joe’s hands are the story that \u003cem>The Unfortunates\u003c/em> doesn’t have the discipline or vision to take on.\u003c/p>\n\u003cp>You can tell how well-rehearsed the show is. But in its soul, the musical comes across as sloppy, haphazard, and overbearing—a series of ideas about what an epic should be instead of the thing itself. There’s a problem when every number is the “big number” and every scene is climactic. And so when Big Joe rolls the dice for his life, or fights a corrupt doctor, or watches a friend die, it’s all played at the same fevered pitch. It’s as if the entire production is afraid to let the story slow down and\u003cem> just be\u003c/em> — a crucial aspect to any odyssey.\u003c/p>\n\u003cp>The score’s mélange of blues, gospel, and hip-hop is \u003cem>The Unfortunates’\u003c/em> most telling failure. These are genres of daring and danger, and aren’t particularly amenable to pastiche. Great blues, rap and gospel singers perform with the whole of their beings. But the performances here are surface imitations, mere gestures compared to more committed artists and art.\u003cstrong> \u003c/strong>And so many of the numbers feel like a put on, like YouTube stunts featuring preschoolers pretending to be gangster rappers. Part of the issue is the performers’ lack of skill: enthusiasm and hitting your cues is no substitute for talent and authenticity.\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 deeper problem, though, is one of idiom. The show’s creators never find a way to tell a story about a man with big hands and so they barrage us with sensation — the sensation of the blues’ deep yearning, the sensation of rap’s anger, the sensation of gospel’s spiritual transcendence, and, most crudely, the sensation of significance. What \u003cem>The Unfortunates\u003c/em> demands from us isn’t understanding, but rather awe. Over and over we’re urged to applaud, whether it be elementary tap dancing, showy singing, or one of the many melodramatic death scenes. But these are gimmicks: they have neither meaning nor a way into actual experience. They’re simply the noise that keeps us from the beauty of Big Joe’s hands.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Unfortunates\u003c/em> runs through April 10th at the Strand Theater in San Francisco. For tickets and information go to www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11378559/acts-the-unfortunates-attempts-to-impress-with-gimmicks",
"authors": [
"8668"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69",
"arts_235",
"arts_967"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_11378561",
"label": "arts_140"
},
"arts_11377173": {
"type": "posts",
"id": "arts_11377173",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11377173",
"score": null,
"sort": [
1457053238000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1457053238,
"format": "standard",
"title": "Cy and David's Picks: Listening to a Luscious Soprano, Southern Rap, and a DIY Moog",
"headTitle": "Cy and David’s Picks: Listening to a Luscious Soprano, Southern Rap, and a DIY Moog | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/03/TDL0304.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=3mQk-W1m9v8\u003c/p>\n\u003cp>\u003cstrong>March 8: \u003c/strong>\u003ca href=\"http://efdebris.virb.com/\" target=\"_blank\" rel=\"noopener\">Eleanor Friedberger\u003c/a> was great as half of a quirky duo with her brother in Fiery Furnaces\u003cem>,\u003c/em> but her songs have just gotten stronger since you went solo in 2011. Her new album \u003ca href=\"http://www.eleanorfriedberger.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>New View\u003c/em> \u003c/a>includes lyrics mixing surreal fragments and intimate detail (” Today I feel frozen, but tomorrow I’ll write about you.”). She plays the \u003ca href=\"http://www.theindependentsf.com/event/1007573-eleanor-friedberger-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Independent Tuesday night\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11377394\" class=\"wp-caption aligncenter\" style=\"max-width: 486px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377394\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792.jpg\" alt=\"Opel Productions\" width=\"486\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792.jpg 486w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792-400x265.jpg 400w\" sizes=\"(max-width: 486px) 100vw, 486px\">\u003cfigcaption class=\"wp-caption-text\">Opel Productions \u003ccite>(Photo Credit: Opel Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5: \u003c/strong>We don’t usually mention DJ sets on The Do List, but we’re making an exception for a pair of anniversaries.\u003ca href=\"http://www.opelproductions.com/\" target=\"_blank\" rel=\"noopener\"> Opel, \u003c/a>run by Syd Gris, is celebrating 14 years using the dance community as a positive vehicle of change. And on Saturday, they’re throwing a party at Public Works with a DJ set from LA’s \u003ca href=\"http://thecrystalmethod.com/\" target=\"_blank\" rel=\"noopener\">Crystal Method\u003c/a>, celebrating it’s 20th anniversary. According to Gris, this maybe the electronic music duo’s last performance before a long hiatus.\u003cbr>\nDetails \u003ca href=\"http://publicsf.com/events/opel-14-year-anniversary-w-the-crystal-method-dj-set-13740\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11377390\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11377390\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-1180x885.jpg\" alt=\"Joan Jeanrenaud and Charlie Varon collaborate on 'The Second Time Around' at The Marsh \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jeanrenaud and Charlie Varon collaborate on ‘The Second Time Around’ at The Marsh \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5-17:\u003c/strong> We’ve often highlighted plays by solo artist \u003ca href=\"http://www.charlievaron.com/\" target=\"_blank\" rel=\"noopener\">Charlie Varon\u003c/a> on The Do List. He’s smart, he’s funny, he works with the great director David Ford; what’s not to like. But \u003ca href=\"http://themarsh.org/uncategorized/joan-jeanrenaud-charlie-varon/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Second Time Around\u003c/em> \u003c/a>is the first show where Varon has a musical accompaniist, the brilliant San Francisco cellist \u003ca href=\"http://www.jjcello.com/\" target=\"_blank\" rel=\"noopener\">Joan Jeanrenaud\u003c/a>, formerly of \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>. Their new duet is called \u003cem>\u003ca href=\"http://themarsh.org/uncategorized/joan-jeanrenaud-charlie-varon/\" target=\"_blank\" rel=\"noopener\">Second Time Around,\u003c/a>\u003c/em> and Varon says it’s part of a series he’s doing about feisty old Jews. (The last one was \u003cem>Feisty Old Jew). Second Time Around is about a\u003c/em> World War Two veteran recalling his time as a bomber pilot. “A lot of the time Ben is in memory land, in his emotions and regrets.” Varon told me this week when I asked why he decided to work with Jeanrenaud, “And the cello is the great expresser of the inner life of human beings. ” And Jeanrenaud added, “I think the cello is a natural indicator of someone’s inner life. The nature of the instrument, it’s range, much like a human voice.” Details\u003ca href=\"http://Varon%20told%20me%20this%20week%20when%20I%20asked%20why%20he%20decided%20to%20work%20with%20Jeanrenaud,\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ufDLvge-T_U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 5:\u003c/strong> Soprano \u003ca href=\"http://www.reneefleming.com/\" target=\"_blank\" rel=\"noopener\">Rene Fleming\u003c/a> has one of the most luscious voices in classical music. But what grabbed our attention this week was her choice of repertoire; she’s singing music by Rachmaninoff and Schumann, but also songs by Chicago jazz pianist and composer \u003ca href=\"http://www.patriciabarber.com/\" target=\"_blank\" rel=\"noopener\">Patricia Barber\u003c/a>. Fleming and Barber hit it off after meeting in Chicago (apparently they bonded over a discussion of mucous, a common problem for singers). Fleming and her accompaniist Olga Kern play \u003ca href=\"http://calperformances.org/performances/2015-16/recital/renee-fleming.php\" target=\"_blank\" rel=\"noopener\">Cal Performances Saturday at Zellerbach Hall.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11377500\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377500\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Moogfest.png\" alt=\"Moogfest\" width=\"640\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moogfest.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moogfest-400x154.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Moogfest\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5:\u003c/strong> My dad used to make\u003ca href=\"https://shop.heathkit.com/shop\" target=\"_blank\" rel=\"noopener\"> radio sets\u003c/a>. And I had friends who made kit computers. But this is new: a DIY \u003ca href=\"http://www.moogmusic.com/\" target=\"_blank\" rel=\"noopener\">Moog Synthesizer\u003c/a>, the analog daddy of all electronic music. This is one of a series of Moog demos and DIY sessions around the country, and will feature master synthesist Suzanne Ciani doing an evening performance. The workshops and performances are at \u003ca href=\"http://grayarea.org/\" target=\"_blank\" rel=\"noopener\">Gray Area\u003c/a> in San Francisco. The \u003ca href=\"http://grayarea.org/event/moogfest-dial-tones/\" target=\"_blank\" rel=\"noopener\">youth workshop (bring your kids) starts at 12:30; the adult workshop at 5:00pm\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r2IuB9GPSE0\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> Pell’s mix of singing and chanting lyrics has been called dream rap, cloud rap, and trip hop. Pell, born Jared Pellerin, mixes Southern Rap with a NOLA sound (he grew up in New Orleans before Hurricane Katrina displaced his family). We think the music is little bit psychedelic, a little bit silly, and a lot of fun. Pell plays the \u003ca href=\"http://www.catalystclub.com/event/1031181-pell-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Catalyst in Santa Cruz Monday March 7\u003c/a>, and the \u003ca href=\"http://thenewparish.com/event.cfm?id=229544\" target=\"_blank\" rel=\"noopener\">New Parish in Oakland\u003c/a> on Tuesday March 8.\u003c/p>\n\u003cfigure id=\"attachment_11377512\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377512\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Jack-Quartet.jpg\" alt=\"Jack Quartet\" width=\"850\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-768x511.jpg 768w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Jack Quartet \u003ccite>(Photo Credit: Justin Bernhaut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 5:\u003c/strong> Pivot is a new music series from San Francisco Performances with an edgy profile, and a mission to recruit younger audiences. The series opens with the \u003ca href=\"http://www.jackquartet.com/\" target=\"_blank\" rel=\"noopener\">Jack Quartet \u003c/a>playing \u003cem>The \u003ca href=\"https://www.youtube.com/watch?v=oV7h04abies\" target=\"_blank\" rel=\"noopener\">Quartet Number 3\u003c/a>\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=oV7h04abies\" target=\"_blank\" rel=\"noopener\"> by George Friedrich Haas\u003c/a> totally in the dark, as the composer directed.\u003ca href=\"http://www.performances.org/performances/1516/Pivot.shtml\" target=\"_blank\" rel=\"noopener\"> \u003c/a>The show is almost sure to weed out SFP’s older subscribers, \u003ca href=\"http://www.performances.org/performances/1516/Pivot.shtml\" target=\"_blank\" rel=\"noopener\">it starts at 11pm at the Strand Theater in San Francisco.\u003c/a>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": true,
"hasPolis": false,
"wordCount": 800,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705044948,
"excerpt": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"title": "Cy and David's Picks: Listening to a Luscious Soprano, Southern Rap, and a DIY Moog | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: Listening to a Luscious Soprano, Southern Rap, and a DIY Moog",
"datePublished": "2016-03-03T17:00:38-08:00",
"dateModified": "2024-01-11T23:35:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-listening-to-a-luscious-soprano-southern-rap-and-a-diy-moog",
"status": "publish",
"sticky": false,
"path": "/arts/11377173/cy-and-davids-picks-listening-to-a-luscious-soprano-southern-rap-and-a-diy-moog",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/03/TDL0304.mp3\u003cbr>\n\u003c/p>\u003c/aside>\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/3mQk-W1m9v8'\n title='//www.youtube.com/embed/3mQk-W1m9v8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 8: \u003c/strong>\u003ca href=\"http://efdebris.virb.com/\" target=\"_blank\" rel=\"noopener\">Eleanor Friedberger\u003c/a> was great as half of a quirky duo with her brother in Fiery Furnaces\u003cem>,\u003c/em> but her songs have just gotten stronger since you went solo in 2011. Her new album \u003ca href=\"http://www.eleanorfriedberger.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>New View\u003c/em> \u003c/a>includes lyrics mixing surreal fragments and intimate detail (” Today I feel frozen, but tomorrow I’ll write about you.”). She plays the \u003ca href=\"http://www.theindependentsf.com/event/1007573-eleanor-friedberger-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Independent Tuesday night\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11377394\" class=\"wp-caption aligncenter\" style=\"max-width: 486px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377394\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792.jpg\" alt=\"Opel Productions\" width=\"486\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792.jpg 486w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Opel-Productions-e1457046556792-400x265.jpg 400w\" sizes=\"(max-width: 486px) 100vw, 486px\">\u003cfigcaption class=\"wp-caption-text\">Opel Productions \u003ccite>(Photo Credit: Opel Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5: \u003c/strong>We don’t usually mention DJ sets on The Do List, but we’re making an exception for a pair of anniversaries.\u003ca href=\"http://www.opelproductions.com/\" target=\"_blank\" rel=\"noopener\"> Opel, \u003c/a>run by Syd Gris, is celebrating 14 years using the dance community as a positive vehicle of change. And on Saturday, they’re throwing a party at Public Works with a DJ set from LA’s \u003ca href=\"http://thecrystalmethod.com/\" target=\"_blank\" rel=\"noopener\">Crystal Method\u003c/a>, celebrating it’s 20th anniversary. According to Gris, this maybe the electronic music duo’s last performance before a long hiatus.\u003cbr>\nDetails \u003ca href=\"http://publicsf.com/events/opel-14-year-anniversary-w-the-crystal-method-dj-set-13740\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11377390\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11377390\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-1180x885.jpg\" alt=\"Joan Jeanrenaud and Charlie Varon collaborate on 'The Second Time Around' at The Marsh \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jeanrenaud and Charlie Varon collaborate on ‘The Second Time Around’ at The Marsh \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5-17:\u003c/strong> We’ve often highlighted plays by solo artist \u003ca href=\"http://www.charlievaron.com/\" target=\"_blank\" rel=\"noopener\">Charlie Varon\u003c/a> on The Do List. He’s smart, he’s funny, he works with the great director David Ford; what’s not to like. But \u003ca href=\"http://themarsh.org/uncategorized/joan-jeanrenaud-charlie-varon/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Second Time Around\u003c/em> \u003c/a>is the first show where Varon has a musical accompaniist, the brilliant San Francisco cellist \u003ca href=\"http://www.jjcello.com/\" target=\"_blank\" rel=\"noopener\">Joan Jeanrenaud\u003c/a>, formerly of \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>. Their new duet is called \u003cem>\u003ca href=\"http://themarsh.org/uncategorized/joan-jeanrenaud-charlie-varon/\" target=\"_blank\" rel=\"noopener\">Second Time Around,\u003c/a>\u003c/em> and Varon says it’s part of a series he’s doing about feisty old Jews. (The last one was \u003cem>Feisty Old Jew). Second Time Around is about a\u003c/em> World War Two veteran recalling his time as a bomber pilot. “A lot of the time Ben is in memory land, in his emotions and regrets.” Varon told me this week when I asked why he decided to work with Jeanrenaud, “And the cello is the great expresser of the inner life of human beings. ” And Jeanrenaud added, “I think the cello is a natural indicator of someone’s inner life. The nature of the instrument, it’s range, much like a human voice.” Details\u003ca href=\"http://Varon%20told%20me%20this%20week%20when%20I%20asked%20why%20he%20decided%20to%20work%20with%20Jeanrenaud,\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ufDLvge-T_U'\n title='//www.youtube.com/embed/ufDLvge-T_U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 5:\u003c/strong> Soprano \u003ca href=\"http://www.reneefleming.com/\" target=\"_blank\" rel=\"noopener\">Rene Fleming\u003c/a> has one of the most luscious voices in classical music. But what grabbed our attention this week was her choice of repertoire; she’s singing music by Rachmaninoff and Schumann, but also songs by Chicago jazz pianist and composer \u003ca href=\"http://www.patriciabarber.com/\" target=\"_blank\" rel=\"noopener\">Patricia Barber\u003c/a>. Fleming and Barber hit it off after meeting in Chicago (apparently they bonded over a discussion of mucous, a common problem for singers). Fleming and her accompaniist Olga Kern play \u003ca href=\"http://calperformances.org/performances/2015-16/recital/renee-fleming.php\" target=\"_blank\" rel=\"noopener\">Cal Performances Saturday at Zellerbach Hall.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11377500\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377500\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Moogfest.png\" alt=\"Moogfest\" width=\"640\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moogfest.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Moogfest-400x154.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Moogfest\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 5:\u003c/strong> My dad used to make\u003ca href=\"https://shop.heathkit.com/shop\" target=\"_blank\" rel=\"noopener\"> radio sets\u003c/a>. And I had friends who made kit computers. But this is new: a DIY \u003ca href=\"http://www.moogmusic.com/\" target=\"_blank\" rel=\"noopener\">Moog Synthesizer\u003c/a>, the analog daddy of all electronic music. This is one of a series of Moog demos and DIY sessions around the country, and will feature master synthesist Suzanne Ciani doing an evening performance. The workshops and performances are at \u003ca href=\"http://grayarea.org/\" target=\"_blank\" rel=\"noopener\">Gray Area\u003c/a> in San Francisco. The \u003ca href=\"http://grayarea.org/event/moogfest-dial-tones/\" target=\"_blank\" rel=\"noopener\">youth workshop (bring your kids) starts at 12:30; the adult workshop at 5:00pm\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r2IuB9GPSE0'\n title='//www.youtube.com/embed/r2IuB9GPSE0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 8:\u003c/strong> Pell’s mix of singing and chanting lyrics has been called dream rap, cloud rap, and trip hop. Pell, born Jared Pellerin, mixes Southern Rap with a NOLA sound (he grew up in New Orleans before Hurricane Katrina displaced his family). We think the music is little bit psychedelic, a little bit silly, and a lot of fun. Pell plays the \u003ca href=\"http://www.catalystclub.com/event/1031181-pell-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Catalyst in Santa Cruz Monday March 7\u003c/a>, and the \u003ca href=\"http://thenewparish.com/event.cfm?id=229544\" target=\"_blank\" rel=\"noopener\">New Parish in Oakland\u003c/a> on Tuesday March 8.\u003c/p>\n\u003cfigure id=\"attachment_11377512\" class=\"wp-caption aligncenter\" style=\"max-width: 850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11377512\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Jack-Quartet.jpg\" alt=\"Jack Quartet\" width=\"850\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet.jpg 850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Jack-Quartet-768x511.jpg 768w\" sizes=\"(max-width: 850px) 100vw, 850px\">\u003cfigcaption class=\"wp-caption-text\">Jack Quartet \u003ccite>(Photo Credit: Justin Bernhaut)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 5:\u003c/strong> Pivot is a new music series from San Francisco Performances with an edgy profile, and a mission to recruit younger audiences. The series opens with the \u003ca href=\"http://www.jackquartet.com/\" target=\"_blank\" rel=\"noopener\">Jack Quartet \u003c/a>playing \u003cem>The \u003ca href=\"https://www.youtube.com/watch?v=oV7h04abies\" target=\"_blank\" rel=\"noopener\">Quartet Number 3\u003c/a>\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=oV7h04abies\" target=\"_blank\" rel=\"noopener\"> by George Friedrich Haas\u003c/a> totally in the dark, as the composer directed.\u003ca href=\"http://www.performances.org/performances/1516/Pivot.shtml\" target=\"_blank\" rel=\"noopener\"> \u003c/a>The show is almost sure to weed out SFP’s older subscribers, \u003ca href=\"http://www.performances.org/performances/1516/Pivot.shtml\" target=\"_blank\" rel=\"noopener\">it starts at 11pm at the Strand Theater in San Francisco.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11377173/cy-and-davids-picks-listening-to-a-luscious-soprano-southern-rap-and-a-diy-moog",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596",
"arts_626"
],
"featImg": "arts_11377508",
"label": "arts_140"
},
"arts_11377501": {
"type": "posts",
"id": "arts_11377501",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11377501",
"score": null,
"sort": [
1457047791000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1457047791,
"format": "standard",
"title": "And The Winner Of The 2016 Tiny Desk Contest Is: Gaelynn Lea",
"headTitle": "And The Winner Of The 2016 Tiny Desk Contest Is: Gaelynn Lea | KQED",
"content": "\u003cp>There were 6,100 entries in this year’s \u003ca href=\"http://npr.org/tinydeskcontest\">Tiny Desk Contest\u003c/a>, representing every state in the nation. We asked you to send us a video of an original song, behind a desk of your choosing. We didn’t care much about the quality of the video or even the sound. We wanted something singular, a song and a sound that felt original and a performance that felt inspired. We at NPR Music watched all of those 6,100 entries and in the end our six judges — \u003ca href=\"http://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> of The Black Keys and The Arcs, Holly Laessig and Jess Wolfe of \u003ca href=\"http://www.npr.org/artists/230150589/lucius\" target=\"_blank\" rel=\"noopener\">Lucius\u003c/a>, \u003ca href=\"http://www.npr.org/artists/446104054/son-little\" target=\"_blank\" rel=\"noopener\">Son Little\u003c/a>, Robin Hilton and I — found one artist so compelling we’re thrilled about this announcement. Our winner is a haunting fiddler from Duluth, Minn. Her name is Gaelynn Lea.\u003c/p>\n\u003cp>Holly Laessig said it best: “Hers was the one melody that stayed with me throughout the process. It’s captivating and powerful.” Robin Hilton, my cohost on \u003cem>All Songs Considered,\u003c/em> said, “Gaelynn Lea had the most arresting voice and overall sound I heard in this competition. While judging each entry, I’d listen to the song first, then watch the video if I was moved by the music to spend more time with it. I was profoundly moved by Lea’s song, particularly its serpentine, earworm melody and the tremendous heartache in her poetry.”\u003c/p>\n\u003cp>Gaelynn is a 32-year-old classically trained fiddler whose music is steeped in Celtic tradition and American fiddle tunes. Her fiddle style is shaped by those traditions but also the challenge she has, playing an instrument that is almost as large as she is. Gaelynn was born with brittle bone disease, a congenital disability that makes playing the violin tucked tightly under the chin not a comfortable option. Instead she plays it upright, as a cellist might.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jb1oCjiIu9M\u003c/p>\n\u003cp>In the original tune she submitted, “Someday We’ll Linger in the Sun,” Gaelynn creates a beautiful droning loop with her JamMan Express loop pedal and after a moody minute begins to sing a yearning tale of life’s preciousness and time’s constant ticking and why we should always care. “Don’t tell me we’ve got time / the subtle thief of life / it slips away when we pay no mind,” she sings in a somewhat childlike and haunting voice. She ends with the phrase, “Someday we’ll linger in the sun / And I love you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s such a universal message — simple, thoughtful and relatable. Truth be told I saw musicians with better craft than Gaelynn, heard singers more capable. That was true of last year’s winner as well. Skill and craft is a part of how we select a winner. What Gaelynn Lea did for all of our judges, myself included, was to make something memorable. As Jess Wolfe put it, Gaelynn Lea created something “so unusual/beautiful and like nothing we’ve ever heard before.”\u003c/p>\n\u003cp>After I voted, I spent some time trying to find out more about Gaelynn Lea. I learned about her congenital disease; I learned that she was a fiddle teacher and that she plays many of the same fiddle tunes my son and I have played together in Irish music camps and for contra dances. I also learned something I hadn’t expected: One day while playing at a farmers market in Duluth, Alan Sparhawk, the guitarist and singer of the band \u003ca href=\"http://www.npr.org/artists/16700848/low\" target=\"_blank\" rel=\"noopener\">Low\u003c/a> (also from Duluth) heard Gaelynn Lea playing. Shortly after he texted her, asking if she’d like to play together. It was the beginning of a musical friendship. That friendship is a casual one they call The Murder of Crows. I discovered that they’d made a record together back in 2012 called \u003cem>Imperfecta\u003c/em>. Working with Alan helped Gaelynn envision and shape her sound. Fans of Low might be able to hear that band in the way her music unfolds, slow and mysterious, every moment existing for each moment to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I love this. I love the way musicians change and shape each other and open ideas that might not arrive naturally but become part of a vocabulary of expression. My hope with the Tiny Desk Contest and concert series has always been about discovery, about finding music outside our comfort zone. One day there might be Adele, the next day a Colombian jazz harpist or a punk band from Detroit. We want you to hear something new and inspiring, something which moves you in some way, makes you think of something — in this case, the preciousness of time — in a way that may cause you to be more appreciative, more thoughtful, more expressive, be it musically or personally. Gaelynn Lea’s music felt like a perfect gift. \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=And+The+Winner+Of+The+2016+Tiny+Desk+Contest+Is+...&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 842,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705044950,
"excerpt": "Out of more than 6,000 entries, the musician selected as the winner of the Tiny Desk Contest created something \"captivating,\" \"serpentine,\" \"beautiful,\" \"unusual\" and \"tremendous.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Out of more than 6,000 entries, the musician selected as the winner of the Tiny Desk Contest created something "captivating," "serpentine," "beautiful," "unusual" and "tremendous."",
"title": "And The Winner Of The 2016 Tiny Desk Contest Is: Gaelynn Lea | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "And The Winner Of The 2016 Tiny Desk Contest Is: Gaelynn Lea",
"datePublished": "2016-03-03T15:29:51-08:00",
"dateModified": "2024-01-11T23:35:50-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "and-the-winner-of-the-2016-tiny-desk-contest-is-gaelynn-lea",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=468923804&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bob Boilen",
"nprStoryDate": "Thu, 03 Mar 2016 06:47:00 -0500",
"nprLastModifiedDate": "Thu, 03 Mar 2016 17:44:52 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/allsongs/2016/03/03/468923804/and-the-winner-of-the-2016-tiny-desk-contest-is?ft=nprml&f=468923804",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/me/2016/03/20160303_me_and_the_winner_of_the_2016_tiny_desk_concert_is_.mp3?orgId=1&topicId=1039&aggIds=100920965&d=228&p=3&story=468923804&t=progseg&e=468998017&seg=19&ft=nprml&f=468923804",
"nprImageAgency": "Courtesy of the artist",
"nprAudioM3u": "http://api.npr.org/m3u/1469023402-4fdd26.m3u?orgId=1&topicId=1039&aggIds=100920965&d=228&p=3&story=468923804&t=progseg&e=468998017&seg=19&ft=nprml&f=468923804",
"nprStoryId": "468923804",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 03 Mar 2016 17:44:00 -0500",
"path": "/arts/11377501/and-the-winner-of-the-2016-tiny-desk-contest-is-gaelynn-lea",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/me/2016/03/20160303_me_and_the_winner_of_the_2016_tiny_desk_concert_is_.mp3?orgId=1&topicId=1039&aggIds=100920965&d=228&p=3&story=468923804&t=progseg&e=468998017&seg=19&ft=nprml&f=468923804",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There were 6,100 entries in this year’s \u003ca href=\"http://npr.org/tinydeskcontest\">Tiny Desk Contest\u003c/a>, representing every state in the nation. We asked you to send us a video of an original song, behind a desk of your choosing. We didn’t care much about the quality of the video or even the sound. We wanted something singular, a song and a sound that felt original and a performance that felt inspired. We at NPR Music watched all of those 6,100 entries and in the end our six judges — \u003ca href=\"http://www.npr.org/artists/102424474/dan-auerbach\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a> of The Black Keys and The Arcs, Holly Laessig and Jess Wolfe of \u003ca href=\"http://www.npr.org/artists/230150589/lucius\" target=\"_blank\" rel=\"noopener\">Lucius\u003c/a>, \u003ca href=\"http://www.npr.org/artists/446104054/son-little\" target=\"_blank\" rel=\"noopener\">Son Little\u003c/a>, Robin Hilton and I — found one artist so compelling we’re thrilled about this announcement. Our winner is a haunting fiddler from Duluth, Minn. Her name is Gaelynn Lea.\u003c/p>\n\u003cp>Holly Laessig said it best: “Hers was the one melody that stayed with me throughout the process. It’s captivating and powerful.” Robin Hilton, my cohost on \u003cem>All Songs Considered,\u003c/em> said, “Gaelynn Lea had the most arresting voice and overall sound I heard in this competition. While judging each entry, I’d listen to the song first, then watch the video if I was moved by the music to spend more time with it. I was profoundly moved by Lea’s song, particularly its serpentine, earworm melody and the tremendous heartache in her poetry.”\u003c/p>\n\u003cp>Gaelynn is a 32-year-old classically trained fiddler whose music is steeped in Celtic tradition and American fiddle tunes. Her fiddle style is shaped by those traditions but also the challenge she has, playing an instrument that is almost as large as she is. Gaelynn was born with brittle bone disease, a congenital disability that makes playing the violin tucked tightly under the chin not a comfortable option. Instead she plays it upright, as a cellist might.\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/jb1oCjiIu9M'\n title='//www.youtube.com/embed/jb1oCjiIu9M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the original tune she submitted, “Someday We’ll Linger in the Sun,” Gaelynn creates a beautiful droning loop with her JamMan Express loop pedal and after a moody minute begins to sing a yearning tale of life’s preciousness and time’s constant ticking and why we should always care. “Don’t tell me we’ve got time / the subtle thief of life / it slips away when we pay no mind,” she sings in a somewhat childlike and haunting voice. She ends with the phrase, “Someday we’ll linger in the sun / And I love you.”\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>That’s such a universal message — simple, thoughtful and relatable. Truth be told I saw musicians with better craft than Gaelynn, heard singers more capable. That was true of last year’s winner as well. Skill and craft is a part of how we select a winner. What Gaelynn Lea did for all of our judges, myself included, was to make something memorable. As Jess Wolfe put it, Gaelynn Lea created something “so unusual/beautiful and like nothing we’ve ever heard before.”\u003c/p>\n\u003cp>After I voted, I spent some time trying to find out more about Gaelynn Lea. I learned about her congenital disease; I learned that she was a fiddle teacher and that she plays many of the same fiddle tunes my son and I have played together in Irish music camps and for contra dances. I also learned something I hadn’t expected: One day while playing at a farmers market in Duluth, Alan Sparhawk, the guitarist and singer of the band \u003ca href=\"http://www.npr.org/artists/16700848/low\" target=\"_blank\" rel=\"noopener\">Low\u003c/a> (also from Duluth) heard Gaelynn Lea playing. Shortly after he texted her, asking if she’d like to play together. It was the beginning of a musical friendship. That friendship is a casual one they call The Murder of Crows. I discovered that they’d made a record together back in 2012 called \u003cem>Imperfecta\u003c/em>. Working with Alan helped Gaelynn envision and shape her sound. Fans of Low might be able to hear that band in the way her music unfolds, slow and mysterious, every moment existing for each moment to come.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I love this. I love the way musicians change and shape each other and open ideas that might not arrive naturally but become part of a vocabulary of expression. My hope with the Tiny Desk Contest and concert series has always been about discovery, about finding music outside our comfort zone. One day there might be Adele, the next day a Colombian jazz harpist or a punk band from Detroit. We want you to hear something new and inspiring, something which moves you in some way, makes you think of something — in this case, the preciousness of time — in a way that may cause you to be more appreciative, more thoughtful, more expressive, be it musically or personally. Gaelynn Lea’s music felt like a perfect gift. \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=And+The+Winner+Of+The+2016+Tiny+Desk+Contest+Is+...&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11377501/and-the-winner-of-the-2016-tiny-desk-contest-is-gaelynn-lea",
"authors": [
"byline_arts_11377501"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11377502",
"label": "arts_137"
},
"arts_11375129": {
"type": "posts",
"id": "arts_11375129",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11375129",
"score": null,
"sort": [
1457020805000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1457020805,
"format": "standard",
"title": "Anish Kapoor Gets Blackest Black To Himself, Enrages Everyone",
"headTitle": "Anish Kapoor Gets Blackest Black To Himself, Enrages Everyone | KQED",
"content": "\u003cp>Imagine you’re in preschool. Crayolas are your jam. You’re coloring up a storm. You reach for the black crayon to add some dark squiggles to your abstract expressionist masterpiece, and this other kid takes it away. You look for another black crayon. Again, taken away. In fact, every single black crayon in the entire preschool — nay, the entire world — is in the clutches of this one kid. And you can’t use any of them. \u003c/p>\n\u003cfigure id=\"attachment_11375254\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Vantablack640.jpg\" alt=\"Vantablack-coated aluminium foil.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11375254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vantablack640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vantablack640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vantablack-coated aluminium foil. \u003ccite>(Courtesy of Surrey NanoSystems)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>‘Why?’ you ask. ‘Why can’t I use the black?’\u003c/p>\n\u003cp>Because, I say: Anish Kapoor.\u003c/p>\n\u003cp>Sir Anish Kapoor, the Indian-born British artist responsible for Chicago’s \u003ci>\u003ca href=\"https://www.google.com/search?q=Cloud+Gate&rlz=1C1PRFC_enUS638US638&espv=2&biw=1920&bih=921&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiwycm_qqPLAhVEyGMKHVisDswQ_AUIBygC&dpr=1\" target=\"_blank\" rel=\"noopener\">Cloud Gate\u003c/a>\u003c/i> (a.k.a. “the bean”) has long worked to mine the emotional and psychological effects of color, surface and depth. His sculptures made from polished stainless steel twist and distort reality; objects coated with raw pigment seem to flatten to pure color.\u003c/p>\n\u003cp>In 2014, Kapoor began working with \u003ca href=\"http://www.surreynanosystems.com/vantablack/faqs\" target=\"_blank\" rel=\"noopener\">Vantablack\u003c/a>, a new product developed by the British company Surrey NanoSystems. The carbon nanotube material was dubbed “the blackest of blacks,” and is, according to the Guinness Book of World Records, the world’s darkest man-made substance. \u003c/p>\n\u003cfigure id=\"attachment_11375359\" class=\"wp-caption aligncenter\" style=\"max-width: 792px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/GoodmanFull.jpg\" alt=\"Julia Goodman, 'Angelic Organics,' 2015.\" width=\"792\" height=\"612\" class=\"size-full wp-image-11375359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GoodmanFull.jpg 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GoodmanFull-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GoodmanFull-776x600.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GoodmanFull-768x593.jpg 768w\" sizes=\"(max-width: 792px) 100vw, 792px\">\u003cfigcaption class=\"wp-caption-text\">Julia Goodman, ‘Angelic Organics,’ 2015. \u003ccite>(Photo: Leo Selvaggio; Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Awesome, the world said. Anish Kapoor will do amazing, great and probably beautiful things with this material we can’t even afford to understand. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But then the \u003ca href=\"http://www.surreynanosystems.com/\" target=\"_blank\" rel=\"noopener\">Surrey NanoSystems\u003c/a> website announced all future artistic applications of Vantablack would be reserved exclusively for Anish Kapoor, stating: “We have… chosen to license Vantablack S-VIS [the spray-on version] exclusively to Kapoor Studios UK to explore its use in works of art. This exclusive licence limits the coating’s use in the field of art, but does not extend to any other sectors.”\u003c/p>\n\u003cp>Artists everywhere were peeved, including those in the Bay Area. “It sounds like a gimmick to me,” says artist \u003ca href=\"http://www.jagoodman.com/\" target=\"_blank\" rel=\"noopener\">Julia Goodman\u003c/a>, who makes low-relief handmade paper sculptures and works with beets. \u003c/p>\n\u003cfigure id=\"attachment_11375251\" class=\"wp-caption alignright\" style=\"max-width: 423px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Cummings640.jpg\" alt=\"Torreya Cummings, 'Water & Power,' 2013.\" width=\"423\" height=\"640\" class=\"size-full wp-image-11375251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cummings640.jpg 423w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cummings640-400x605.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cummings640-397x600.jpg 397w\" sizes=\"(max-width: 423px) 100vw, 423px\">\u003cfigcaption class=\"wp-caption-text\">Torreya Cummings, ‘Water & Power,’ 2013. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I understand why it’s an appropriate material for Anish Kapoor to use,” says Oakland-based artist \u003ca href=\"http://torreya.info/TORREYA-CUMMINGS\" target=\"_blank\" rel=\"noopener\">Torreya Cummings\u003c/a>. “But it’s the part where he won’t let others use it that’s weird.”\u003c/p>\n\u003cp>“It’s like, dude,” sculptor \u003ca href=\"http://tamraseal.com/\" target=\"_blank\" rel=\"noopener\">Tamra Seal\u003c/a> says, “share the goods.”\u003c/p>\n\u003cp>Granted, Vantablack is likely out of reach to most earthly denizens even without Kapoor accepting exclusive rights. On NanoSystems’ FAQ page, the question of “Can I apply Vantablack to my car?” (obviously the first thing on my mind) is answered with, “Though this would undoubtedly result in an amazing looking motor… this [is] an impractical proposition for most people. It would also be incredibly expensive.” \u003c/p>\n\u003cp>But now we can’t even dream of turning our cars into Batmobiles in the name of art. “I had no designs to ever use it,” says artist \u003ca href=\"http://www.nandoalvarezperez.com/index.html\" target=\"_blank\" rel=\"noopener\">Nando Alavarez-Perez\u003c/a>, “but then it was like f— you, you a–hole.” \u003c/p>\n\u003cfigure id=\"attachment_11375253\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Halo640.jpg\" alt=\"Tamra Seal, 'Halo,' 2014-2015.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11375253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Halo640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Halo640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Tamra Seal, ‘Halo,’ 2014-2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists have developed secret studio methods and invented new materials (\u003ca href=\"https://en.wikipedia.org/wiki/International_Klein_Blue\" target=\"_blank\" rel=\"noopener\">International Klein Blue\u003c/a> comes to mind), but they did it on their own, through the sweat and labor of their studio practices. \u003c/p>\n\u003cp>Secrets can be useful tools for artists, Seal says. In a recent group show at Oakland’s \u003ca href=\"http://citylimitsgallery.com/exhibitions/mysticpizza/index.html\" target=\"_blank\" rel=\"noopener\">City Limits\u003c/a>, her sculpture \u003ci>Halo\u003c/i> was made of “plastic, paint and secret ingredient.” Knowing exactly how something was made and what it was made out of sometimes demystifies a work, she thinks. “Now they have to scratch their head and contemplate it. How did she make this?”\u003c/p>\n\u003cp>But for Kapoor and his Vantablack, the issue isn’t a pleasant conundrum so much as a nagging reminder of the obscene wealth (and ego) of the art-world elite. \u003c/p>\n\u003cp>“The idea of owning something he didn’t invent himself feels really wrong to me,” says Goodman. “I’m building on such a long history of making rag paper. To try to truncate and isolate myself from that feels like a disservice to the work and the community of artist papermakers I work in.”\u003c/p>\n\u003cp>As the blog \u003ca href=\"http://who-wore-it-better.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Who Wore It Better\u003c/a> clearly shows, artwork doppelgängers constantly manifest. “Things are in the air,” says Cummings. “Art is reflecting consciousness and experience and reality, there are going to be things that overlap and coincide.”\u003c/p>\n\u003cfigure id=\"attachment_11375256\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/totems-8.jpg\" alt=\"Nando Alvarez-Perez, Installation view of 'Totems for a Flattened Now,' CEPA Gallery, Buffalo, NY, 2016.\" width=\"700\" height=\"467\" class=\"size-full wp-image-11375256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/totems-8.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/totems-8-400x267.jpg 400w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Nando Alvarez-Perez, Installation view of ‘Totems for a Flattened Now,’ CEPA Gallery, Buffalo, NY, 2016. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is Kapoor so insecure about competition that he needs to corner the market on Vantablack? “It would be great if I was the only artist allowed to use extruded aluminum,” Alvarez-Perez jokes. “But even when I say that it sounds so insane!”\u003c/p>\n\u003cp>Would any of the artists surveyed for this article like to claim a particular material for their own exclusive use? Not a one. “I do love my materials, it’s true,” says Goodman. “But I don’t want to own my materials. I think work is best when it’s in conversation and not isolated.”\u003c/p>\n\u003cp>If anything, Seal says, she would want to invent a new material of her own, Yves Klein-style. \u003c/p>\n\u003cp>These Bay Area artists are just too darn nice to spout ill will. So I’ll do it for them. If NanoSystems’ other collaboration is any indicator of what the future holds, Kapoor’s exclusive rights will culminate in an artwork resembling this inane Vantablack-coated container of Lynx deodorant body spray:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bvlaNLkf-BU\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1012,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1705044957,
"excerpt": "If you could secure exclusive rights to an artistic material, would you do it? Bay Area artists weigh in on art world ethics. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "If you could secure exclusive rights to an artistic material, would you do it? Bay Area artists weigh in on art world ethics. ",
"title": "Anish Kapoor Gets Blackest Black To Himself, Enrages Everyone | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Anish Kapoor Gets Blackest Black To Himself, Enrages Everyone",
"datePublished": "2016-03-03T08:00:05-08:00",
"dateModified": "2024-01-11T23:35:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "anish-kapoor-reserves-blackest-black-for-himself-enrages-everyone",
"status": "publish",
"sticky": false,
"path": "/arts/11375129/anish-kapoor-reserves-blackest-black-for-himself-enrages-everyone",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine you’re in preschool. Crayolas are your jam. You’re coloring up a storm. You reach for the black crayon to add some dark squiggles to your abstract expressionist masterpiece, and this other kid takes it away. You look for another black crayon. Again, taken away. In fact, every single black crayon in the entire preschool — nay, the entire world — is in the clutches of this one kid. And you can’t use any of them. \u003c/p>\n\u003cfigure id=\"attachment_11375254\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Vantablack640.jpg\" alt=\"Vantablack-coated aluminium foil.\" width=\"640\" height=\"480\" class=\"size-full wp-image-11375254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vantablack640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Vantablack640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vantablack-coated aluminium foil. \u003ccite>(Courtesy of Surrey NanoSystems)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>‘Why?’ you ask. ‘Why can’t I use the black?’\u003c/p>\n\u003cp>Because, I say: Anish Kapoor.\u003c/p>\n\u003cp>Sir Anish Kapoor, the Indian-born British artist responsible for Chicago’s \u003ci>\u003ca href=\"https://www.google.com/search?q=Cloud+Gate&rlz=1C1PRFC_enUS638US638&espv=2&biw=1920&bih=921&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiwycm_qqPLAhVEyGMKHVisDswQ_AUIBygC&dpr=1\" target=\"_blank\" rel=\"noopener\">Cloud Gate\u003c/a>\u003c/i> (a.k.a. “the bean”) has long worked to mine the emotional and psychological effects of color, surface and depth. His sculptures made from polished stainless steel twist and distort reality; objects coated with raw pigment seem to flatten to pure color.\u003c/p>\n\u003cp>In 2014, Kapoor began working with \u003ca href=\"http://www.surreynanosystems.com/vantablack/faqs\" target=\"_blank\" rel=\"noopener\">Vantablack\u003c/a>, a new product developed by the British company Surrey NanoSystems. The carbon nanotube material was dubbed “the blackest of blacks,” and is, according to the Guinness Book of World Records, the world’s darkest man-made substance. \u003c/p>\n\u003cfigure id=\"attachment_11375359\" class=\"wp-caption aligncenter\" style=\"max-width: 792px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/GoodmanFull.jpg\" alt=\"Julia Goodman, 'Angelic Organics,' 2015.\" width=\"792\" height=\"612\" class=\"size-full wp-image-11375359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GoodmanFull.jpg 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GoodmanFull-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GoodmanFull-776x600.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GoodmanFull-768x593.jpg 768w\" sizes=\"(max-width: 792px) 100vw, 792px\">\u003cfigcaption class=\"wp-caption-text\">Julia Goodman, ‘Angelic Organics,’ 2015. \u003ccite>(Photo: Leo Selvaggio; Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Awesome, the world said. Anish Kapoor will do amazing, great and probably beautiful things with this material we can’t even afford to understand. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But then the \u003ca href=\"http://www.surreynanosystems.com/\" target=\"_blank\" rel=\"noopener\">Surrey NanoSystems\u003c/a> website announced all future artistic applications of Vantablack would be reserved exclusively for Anish Kapoor, stating: “We have… chosen to license Vantablack S-VIS [the spray-on version] exclusively to Kapoor Studios UK to explore its use in works of art. This exclusive licence limits the coating’s use in the field of art, but does not extend to any other sectors.”\u003c/p>\n\u003cp>Artists everywhere were peeved, including those in the Bay Area. “It sounds like a gimmick to me,” says artist \u003ca href=\"http://www.jagoodman.com/\" target=\"_blank\" rel=\"noopener\">Julia Goodman\u003c/a>, who makes low-relief handmade paper sculptures and works with beets. \u003c/p>\n\u003cfigure id=\"attachment_11375251\" class=\"wp-caption alignright\" style=\"max-width: 423px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Cummings640.jpg\" alt=\"Torreya Cummings, 'Water & Power,' 2013.\" width=\"423\" height=\"640\" class=\"size-full wp-image-11375251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cummings640.jpg 423w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cummings640-400x605.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Cummings640-397x600.jpg 397w\" sizes=\"(max-width: 423px) 100vw, 423px\">\u003cfigcaption class=\"wp-caption-text\">Torreya Cummings, ‘Water & Power,’ 2013. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I understand why it’s an appropriate material for Anish Kapoor to use,” says Oakland-based artist \u003ca href=\"http://torreya.info/TORREYA-CUMMINGS\" target=\"_blank\" rel=\"noopener\">Torreya Cummings\u003c/a>. “But it’s the part where he won’t let others use it that’s weird.”\u003c/p>\n\u003cp>“It’s like, dude,” sculptor \u003ca href=\"http://tamraseal.com/\" target=\"_blank\" rel=\"noopener\">Tamra Seal\u003c/a> says, “share the goods.”\u003c/p>\n\u003cp>Granted, Vantablack is likely out of reach to most earthly denizens even without Kapoor accepting exclusive rights. On NanoSystems’ FAQ page, the question of “Can I apply Vantablack to my car?” (obviously the first thing on my mind) is answered with, “Though this would undoubtedly result in an amazing looking motor… this [is] an impractical proposition for most people. It would also be incredibly expensive.” \u003c/p>\n\u003cp>But now we can’t even dream of turning our cars into Batmobiles in the name of art. “I had no designs to ever use it,” says artist \u003ca href=\"http://www.nandoalvarezperez.com/index.html\" target=\"_blank\" rel=\"noopener\">Nando Alavarez-Perez\u003c/a>, “but then it was like f— you, you a–hole.” \u003c/p>\n\u003cfigure id=\"attachment_11375253\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Halo640.jpg\" alt=\"Tamra Seal, 'Halo,' 2014-2015.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11375253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Halo640.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Halo640-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Tamra Seal, ‘Halo,’ 2014-2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists have developed secret studio methods and invented new materials (\u003ca href=\"https://en.wikipedia.org/wiki/International_Klein_Blue\" target=\"_blank\" rel=\"noopener\">International Klein Blue\u003c/a> comes to mind), but they did it on their own, through the sweat and labor of their studio practices. \u003c/p>\n\u003cp>Secrets can be useful tools for artists, Seal says. In a recent group show at Oakland’s \u003ca href=\"http://citylimitsgallery.com/exhibitions/mysticpizza/index.html\" target=\"_blank\" rel=\"noopener\">City Limits\u003c/a>, her sculpture \u003ci>Halo\u003c/i> was made of “plastic, paint and secret ingredient.” Knowing exactly how something was made and what it was made out of sometimes demystifies a work, she thinks. “Now they have to scratch their head and contemplate it. How did she make this?”\u003c/p>\n\u003cp>But for Kapoor and his Vantablack, the issue isn’t a pleasant conundrum so much as a nagging reminder of the obscene wealth (and ego) of the art-world elite. \u003c/p>\n\u003cp>“The idea of owning something he didn’t invent himself feels really wrong to me,” says Goodman. “I’m building on such a long history of making rag paper. To try to truncate and isolate myself from that feels like a disservice to the work and the community of artist papermakers I work in.”\u003c/p>\n\u003cp>As the blog \u003ca href=\"http://who-wore-it-better.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Who Wore It Better\u003c/a> clearly shows, artwork doppelgängers constantly manifest. “Things are in the air,” says Cummings. “Art is reflecting consciousness and experience and reality, there are going to be things that overlap and coincide.”\u003c/p>\n\u003cfigure id=\"attachment_11375256\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/totems-8.jpg\" alt=\"Nando Alvarez-Perez, Installation view of 'Totems for a Flattened Now,' CEPA Gallery, Buffalo, NY, 2016.\" width=\"700\" height=\"467\" class=\"size-full wp-image-11375256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/totems-8.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/totems-8-400x267.jpg 400w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Nando Alvarez-Perez, Installation view of ‘Totems for a Flattened Now,’ CEPA Gallery, Buffalo, NY, 2016. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is Kapoor so insecure about competition that he needs to corner the market on Vantablack? “It would be great if I was the only artist allowed to use extruded aluminum,” Alvarez-Perez jokes. “But even when I say that it sounds so insane!”\u003c/p>\n\u003cp>Would any of the artists surveyed for this article like to claim a particular material for their own exclusive use? Not a one. “I do love my materials, it’s true,” says Goodman. “But I don’t want to own my materials. I think work is best when it’s in conversation and not isolated.”\u003c/p>\n\u003cp>If anything, Seal says, she would want to invent a new material of her own, Yves Klein-style. \u003c/p>\n\u003cp>These Bay Area artists are just too darn nice to spout ill will. So I’ll do it for them. If NanoSystems’ other collaboration is any indicator of what the future holds, Kapoor’s exclusive rights will culminate in an artwork resembling this inane Vantablack-coated container of Lynx deodorant body spray:\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bvlaNLkf-BU'\n title='//www.youtube.com/embed/bvlaNLkf-BU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11375129/anish-kapoor-reserves-blackest-black-for-himself-enrages-everyone",
"authors": [
"61"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1119",
"arts_1118",
"arts_596"
],
"featImg": "arts_11375249",
"label": "arts"
},
"arts_11374908": {
"type": "posts",
"id": "arts_11374908",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11374908",
"score": null,
"sort": [
1456972346000
]
},
"guestAuthors": [],
"slug": "ursula-k-le-guin-documentary-raises-200000-with-kickstarter",
"title": "Ursula K. Le Guin Documentary Raises $200,000 with Kickstarter",
"publishDate": 1456972346,
"format": "standard",
"headTitle": "Ursula K. Le Guin Documentary Raises $200,000 with Kickstarter | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The filmmakers behind a documentary on science fiction author Ursula K. Le Guin had plenty to celebrate Wednesday as \u003ca href=\"https://www.kickstarter.com/projects/arwencurry/worlds-of-ursula-k-le-guin\" target=\"_blank\" rel=\"noopener\">their Kickstarter campaign\u003c/a> surpassed $200,000.\u003c/p>\n\u003cp>With 50 hours left, the campaign reached its final goal — the remaining amount of the film’s $800,000 budget — and the filmmakers made this announcement on their Facebook page:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/post.php?href=https%3A%2F%2Fwww.facebook.com%2FWorldsofUKL%2Fposts%2F973049319414828&width=500\" width=\"500\" height=\"596\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The film concentrates on the work of Berkeley native Le Guin, creator of the internationally-renowned \u003ci>Earthsea\u003c/i> fantasy series and a \u003ca href=\"https://en.wikipedia.org/wiki/Library_of_Congress_Living_Legend\" target=\"_blank\" rel=\"noopener\">Library of Congress Living Legend.\u003c/a> Director Arwen Curry left her job as a KQED Science producer to make the film about a writer whose presence in her life was so ubiquitous, she described Le Guin as like “being an auntie.”\u003c/p>\n\u003cp>“American fiction was not the same after her,” Curry says. “She opened doors between mainstream literature, and genres like science fiction and fantasy. Before those genres were not necessarily maligned but looked down upon as being immature. After Ursula Le Guin, it’s hard to say that those aren’t areas where important thinking is taking place.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After filming hours of interviews with Le Guin, Curry applied for a grant from the National Endowment of the Humanities and was awarded $600,000, the majority of film’s projected budget. But there was a catch: in order to receive the funds, Curry and her crew had to raise the remaining $200,000 on their own. \u003c/p>\n\u003cp>Thinking that they would have to apply for other grants, the crew initially set their Kickstarter goal at $80,000. They raised that amount in two days, so they pushed to raise the full $200,000, which they did with a little more than two days left in the campaign.\u003c/p>\n\u003cp>Curry said that the remaining funds will be used for finishing costs such as editing, licensing archival material, and bankrolling the film’s musical score.\u003c/p>\n\u003cp>The campaign has received funding and plugs from notable authors such as Cheryl Strayed, Michael Chabon and Neil Gaiman.\u003c/p>\n\u003cp>“Ursula Le Guin may be the last great SF and Fantasy writer of her generation who is still writing as well and as wisely as she did in the Sixties,” Gaiman wrote, adding that he had been supporting the film’s campaign from the beginning. \u003c/p>\n\u003cp>Curry says the outpouring of support for the film has been both overwhelming and encouraging for a project she envisioned more than seven years ago. It also made it known that fans of Le Guin are dedicated, and when asked why that is, Curry says that after hours of interviews with them, the answer is clear.\u003c/p>\n\u003cp>“She teaches us how to live well.” \u003c/p>\n\u003cp>\u003ci>To learn more about the documentary, watch the video below:\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AqH3nqXqlgs\u003c/p>\n\n",
"blocks": [],
"excerpt": null,
"status": "publish",
"parent": 0,
"modified": 1726710223,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 469
},
"headData": {
"title": "Ursula K. Le Guin Documentary Raises $200,000 with Kickstarter | KQED",
"description": "The filmmakers behind a documentary on science fiction author Ursula K. Le Guin had plenty to celebrate Wednesday as their Kickstarter campaign surpassed $200,000. With 50 hours left, the campaign reached its final goal -- the remaining amount of the film's $800,000 budget -- and the filmmakers made this announcement on their Facebook page: The film concentrates on the work of Berkeley native Le Guin, creator of the internationally-renowned Earthsea fantasy series and a Library of Congress Living Legend. Director Arwen Curry left her job as a KQED Science producer to make the film about a writer whose presence in",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ursula K. Le Guin Documentary Raises $200,000 with Kickstarter",
"datePublished": "2016-03-02T18:32:26-08:00",
"dateModified": "2024-09-18T18:43:43-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11374908/ursula-k-le-guin-documentary-raises-200000-with-kickstarter",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The filmmakers behind a documentary on science fiction author Ursula K. Le Guin had plenty to celebrate Wednesday as \u003ca href=\"https://www.kickstarter.com/projects/arwencurry/worlds-of-ursula-k-le-guin\" target=\"_blank\" rel=\"noopener\">their Kickstarter campaign\u003c/a> surpassed $200,000.\u003c/p>\n\u003cp>With 50 hours left, the campaign reached its final goal — the remaining amount of the film’s $800,000 budget — and the filmmakers made this announcement on their Facebook page:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/post.php?href=https%3A%2F%2Fwww.facebook.com%2FWorldsofUKL%2Fposts%2F973049319414828&width=500\" width=\"500\" height=\"596\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The film concentrates on the work of Berkeley native Le Guin, creator of the internationally-renowned \u003ci>Earthsea\u003c/i> fantasy series and a \u003ca href=\"https://en.wikipedia.org/wiki/Library_of_Congress_Living_Legend\" target=\"_blank\" rel=\"noopener\">Library of Congress Living Legend.\u003c/a> Director Arwen Curry left her job as a KQED Science producer to make the film about a writer whose presence in her life was so ubiquitous, she described Le Guin as like “being an auntie.”\u003c/p>\n\u003cp>“American fiction was not the same after her,” Curry says. “She opened doors between mainstream literature, and genres like science fiction and fantasy. Before those genres were not necessarily maligned but looked down upon as being immature. After Ursula Le Guin, it’s hard to say that those aren’t areas where important thinking is taking place.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After filming hours of interviews with Le Guin, Curry applied for a grant from the National Endowment of the Humanities and was awarded $600,000, the majority of film’s projected budget. But there was a catch: in order to receive the funds, Curry and her crew had to raise the remaining $200,000 on their own. \u003c/p>\n\u003cp>Thinking that they would have to apply for other grants, the crew initially set their Kickstarter goal at $80,000. They raised that amount in two days, so they pushed to raise the full $200,000, which they did with a little more than two days left in the campaign.\u003c/p>\n\u003cp>Curry said that the remaining funds will be used for finishing costs such as editing, licensing archival material, and bankrolling the film’s musical score.\u003c/p>\n\u003cp>The campaign has received funding and plugs from notable authors such as Cheryl Strayed, Michael Chabon and Neil Gaiman.\u003c/p>\n\u003cp>“Ursula Le Guin may be the last great SF and Fantasy writer of her generation who is still writing as well and as wisely as she did in the Sixties,” Gaiman wrote, adding that he had been supporting the film’s campaign from the beginning. \u003c/p>\n\u003cp>Curry says the outpouring of support for the film has been both overwhelming and encouraging for a project she envisioned more than seven years ago. It also made it known that fans of Le Guin are dedicated, and when asked why that is, Curry says that after hours of interviews with them, the answer is clear.\u003c/p>\n\u003cp>“She teaches us how to live well.” \u003c/p>\n\u003cp>\u003ci>To learn more about the documentary, watch the video below:\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AqH3nqXqlgs'\n title='//www.youtube.com/embed/AqH3nqXqlgs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11374908/ursula-k-le-guin-documentary-raises-200000-with-kickstarter",
"authors": [
"93"
],
"categories": [
"arts_73",
"arts_74",
"arts_235"
],
"tags": [
"arts_746",
"arts_596"
],
"featImg": "arts_11375013",
"label": "arts"
},
"arts_11370839": {
"type": "posts",
"id": "arts_11370839",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11370839",
"score": null,
"sort": [
1456966840000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1456966840,
"format": "standard",
"title": "Frances McDormand and Conleth Hill Attempt 'Macbeth'",
"headTitle": "Frances McDormand and Conleth Hill Attempt ‘Macbeth’ | KQED",
"content": "\u003cp>Daniel Sullivan’s production of Shakespeare’s \u003cem>Macbeth\u003c/em> at the Berkeley Repertory Theatre begins with a soldier strapped to a tree, Christ like, and the three witches milling about, prepping his body for God knows what. It feels malevolent without being foreboding, and that’s good.\u003c/p>\n\u003cp>Then we realize that film and stage star Frances McDormand, cast as Lady Macbeth, is also one of the witches — and rightfully bearded as Banquo notes — “You should be women, / And yet your beards forbid me to interpret / That you are so.” McDormand is an actress of great precision and wit; a comic capable of slipping into the horrific with a wink. And so the casting is inspired: this is a \u003cem>Macbeth\u003c/em> that springs from a witch’s imagination.\u003c/p>\n\u003cp>You can feel the play slither into an unexpected and wicked balance. Here is the type of sly poisoning of the soul that Shakespeare imagined. A dash of star peaking out from an unexpected corner of the production, and like Macbeth, we’re hooked. Follow McDormand and you follow the evil — witch, wife, plot, kill, chaos, and a frenzied and terrifying descent into madness. The possibilities are intoxicating.\u003c/p>\n\u003cp>But Sullivan doesn’t take advantage of this propulsive energy, and the production just kind of floats away without purpose or vision. The loss of steam happens within the first 15 minutes. It was as if the director, actors, and everyone else involved decided to quit; that they simply lost the will to bring \u003cem>Macbeth\u003c/em> to life.\u003c/p>\n\u003cp>In the title role, \u003cem>Game of Thrones\u003c/em> star Conleth Hill hams and mugs for laughs, behaving as if his mere presence should be enough to satisfy us. There are wild special effects that say nothing about the action on stage; in fact, they distract from it. At one point, an orange moon turns blue and then back again for no apparent reason. The ensemble of actors seem lost to each other, as if they were performing in radically different productions. And the fight choreography is an embarrassment of large clanking swords that tells us nothing of Macbeth or the world in which he lives. They’re just random effects of the night.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The joy of \u003cem>Macbeth \u003c/em>is the joy of living at its most savage. I don’t know about you, but I always want more, and more, and more of this play — the witches, the prophecies, the violence, the chaos, the crazed embrace of every dream, every murderous ambition, and every sidelong hope, no matter what the cost. Without that headlong rush into hell, it’s just reciting lines.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Macbeth\u003c/em> runs through April 10th at The Berkeley Repertory Theatre in Berkeley. For tickets and information go to www.berkeleyrep.org.\u003c/strong>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 486,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705044965,
"excerpt": "A star-studded cast doesn't save this expensively produced, poor executed version of Shakespeare's 'Scottish Play'",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A star-studded cast doesn't save this expensively produced, poor executed version of Shakespeare's 'Scottish Play'",
"title": "Frances McDormand and Conleth Hill Attempt 'Macbeth' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Frances McDormand and Conleth Hill Attempt 'Macbeth'",
"datePublished": "2016-03-02T17:00:40-08:00",
"dateModified": "2024-01-11T23:36:05-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "frances-mcdormand-and-conleth-hill-attempt-macbeth",
"status": "publish",
"sticky": false,
"path": "/arts/11370839/frances-mcdormand-and-conleth-hill-attempt-macbeth",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Daniel Sullivan’s production of Shakespeare’s \u003cem>Macbeth\u003c/em> at the Berkeley Repertory Theatre begins with a soldier strapped to a tree, Christ like, and the three witches milling about, prepping his body for God knows what. It feels malevolent without being foreboding, and that’s good.\u003c/p>\n\u003cp>Then we realize that film and stage star Frances McDormand, cast as Lady Macbeth, is also one of the witches — and rightfully bearded as Banquo notes — “You should be women, / And yet your beards forbid me to interpret / That you are so.” McDormand is an actress of great precision and wit; a comic capable of slipping into the horrific with a wink. And so the casting is inspired: this is a \u003cem>Macbeth\u003c/em> that springs from a witch’s imagination.\u003c/p>\n\u003cp>You can feel the play slither into an unexpected and wicked balance. Here is the type of sly poisoning of the soul that Shakespeare imagined. A dash of star peaking out from an unexpected corner of the production, and like Macbeth, we’re hooked. Follow McDormand and you follow the evil — witch, wife, plot, kill, chaos, and a frenzied and terrifying descent into madness. The possibilities are intoxicating.\u003c/p>\n\u003cp>But Sullivan doesn’t take advantage of this propulsive energy, and the production just kind of floats away without purpose or vision. The loss of steam happens within the first 15 minutes. It was as if the director, actors, and everyone else involved decided to quit; that they simply lost the will to bring \u003cem>Macbeth\u003c/em> to life.\u003c/p>\n\u003cp>In the title role, \u003cem>Game of Thrones\u003c/em> star Conleth Hill hams and mugs for laughs, behaving as if his mere presence should be enough to satisfy us. There are wild special effects that say nothing about the action on stage; in fact, they distract from it. At one point, an orange moon turns blue and then back again for no apparent reason. The ensemble of actors seem lost to each other, as if they were performing in radically different productions. And the fight choreography is an embarrassment of large clanking swords that tells us nothing of Macbeth or the world in which he lives. They’re just random effects of the night.\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 joy of \u003cem>Macbeth \u003c/em>is the joy of living at its most savage. I don’t know about you, but I always want more, and more, and more of this play — the witches, the prophecies, the violence, the chaos, the crazed embrace of every dream, every murderous ambition, and every sidelong hope, no matter what the cost. Without that headlong rush into hell, it’s just reciting lines.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Macbeth\u003c/em> runs through April 10th at The Berkeley Repertory Theatre in Berkeley. For tickets and information go to www.berkeleyrep.org.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11370839/frances-mcdormand-and-conleth-hill-attempt-macbeth",
"authors": [
"8668"
],
"categories": [
"arts_235",
"arts_967"
],
"featImg": "arts_11370951",
"label": "arts"
},
"arts_11374909": {
"type": "posts",
"id": "arts_11374909",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11374909",
"score": null,
"sort": [
1456966746000
]
},
"guestAuthors": [],
"slug": "salvador-dali-collection-coming-to-monterey",
"title": "Salvador Dalí Collection Coming to Monterey",
"publishDate": 1456966746,
"format": "standard",
"headTitle": "Salvador Dalí Collection Coming to Monterey | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The Museum of Monterey is about to become home to the largest collection of works by Salvador Dalí on the West Coast, thanks to the arrival of 543 original etchings, lithographs, sculptures and tapestries by the Spanish surrealist artist. The collection will join the \u003ca href=\"http://www.montereybayaquarium.org/\" target=\"_blank\" rel=\"noopener\">Aquarium\u003c/a> and the \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">Jazz Festival\u003c/a> as one of Monterey’s major tourist draws.\u003c/p>\n\u003cp>It’s not as bizarre an idea as you might think. Dalí lived in Monterey off and on for seven years in the 1940s. The artist was a regular at the city’s famous Hotel Del Monte, the historic starting point for the 17-mile drive.\u003c/p>\n\u003cp>Watch Paramount Pictures’ coverage of a surrealist fundraiser Dalí threw for European artists displaced by World War II in 1941.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=vg6i4E0Woak]\u003c/p>\n\u003cp>Stars like Bob Hope, Clark Gable, Bing Crosby, and Alfred Hitchcock reportedly attended, too. Dalí was not above fraternizing with local artists, though. He was an early member of the \u003ca href=\"http://carmelart.org/history/\" target=\"_blank\" rel=\"noopener\">Carmel Art Association\u003c/a>, actively participating in the group’s activities when he wasn’t in New York or Hollywood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last year, the Monterey History and Art Association went looking for a fresh focus for the Museum of Monterey. Since its start in 1992, the institution, which doesn’t charge admission, has attracted fewer than 25,000 visitors a year and has failed to break even.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/251082631″ 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>Highlighting local history is part of the organization’s mission. So after a call went out for fresh ideas, board members were excited to hear from a local businessman keen to share his Dalí collection with the public –- a collection unmatched by anything outside Europe or \u003ca href=\"http://thedali.org/\" target=\"_blank\" rel=\"noopener\">The Dalí\u003c/a> \u003ca href=\"http://thedali.org/\" target=\"_blank\" rel=\"noopener\">Museum\u003c/a> in Florida.\u003c/p>\n\u003cp>\u003cstrong>Nuts for Dalí\u003c/strong>\u003c/p>\n\u003cp>Dmitry Piterman maintains homes in Oakland and Pebble Beach, and he’s mad for Dalí. After earning a track scholarship to UC Berkeley, Piterman competed in the US Olympic trials for the 1992 games in Barcelona. He failed to qualify. But as a result of his visit to Spain, Piterman discovered Dalí. As Piterman’s career in real estate blossomed over the years, he plowed a fair bit of his spare income into Dalí’s art work.\u003c/p>\n\u003cp>Piterman has exhibited his collection before in Spain and Belgium. Now he’ll get to have a strong hand in the day-to-day management of the exhibition space in Monterey, and at a museum that is putting his collection front and center.\u003c/p>\n\u003cp>Association president Larry Chavez says he hopes to add to the collection from the museum’s own archives as well as from future purchases Piterman might make and from other Dalí art collectors.\u003c/p>\n\u003cp>\u003cstrong>The Fate of the Existing Collection\u003c/strong>\u003c/p>\n\u003cp>What’s going to happen to the existing collection? Work that was on loan is going back to its original owners. Much of it is headed to the \u003ca href=\"http://www.nps.gov/safr/index.htm\" target=\"_blank\" rel=\"noopener\">San Francisco Maritime Museum\u003c/a>. Local outfits like the \u003ca href=\"http://monterey.org/library/California-History-Room\" target=\"_blank\" rel=\"noopener\">Monterey Public Library\u003c/a> and the \u003ca href=\"http://www.dliflc.edu/about/command-history-office-3/\" target=\"_blank\" rel=\"noopener\">Defense Language Institute\u003c/a> will house other materials. Chavez adds there will also be a small exhibit of non-Dalí items at the museum and/or another location nearby.\u003c/p>\n\u003cp>Monterey County vigorously celebrates writers who’ve spent time in the region, including John Steinbeck, Robert Louis Stevenson, Robinson Jeffers, Henry Miller and Jack Kerouac. Dalí’s connection to the city is much less well known.\u003c/p>\n\u003cp>“Dalí, with his extravagance and with his out of the box thinking, probably chose Monterey because he found this a little haven for himself,” says Chavez.\u003c/p>\n\u003cp>The new Dalí museum will open in May, just in time for the summer tourist season.\u003c/p>\n\u003cp>\u003cstrong>Dalí on \u003cem>What’s My Line\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f7SSkVpM4lE\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Museum of Monterey is about to become home to West Coast's largest collection of work by the famed Spanish surrealist artist.",
"status": "publish",
"parent": 0,
"modified": 1726710228,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 701
},
"headData": {
"title": "Salvador Dalí Collection Coming to Monterey | KQED",
"description": "The Museum of Monterey is about to become home to West Coast's largest collection of work by the famed Spanish surrealist artist.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Salvador Dalí Collection Coming to Monterey",
"datePublished": "2016-03-02T16:59:06-08:00",
"dateModified": "2024-09-18T18:43:48-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11374909/salvador-dali-collection-coming-to-monterey",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Museum of Monterey is about to become home to the largest collection of works by Salvador Dalí on the West Coast, thanks to the arrival of 543 original etchings, lithographs, sculptures and tapestries by the Spanish surrealist artist. The collection will join the \u003ca href=\"http://www.montereybayaquarium.org/\" target=\"_blank\" rel=\"noopener\">Aquarium\u003c/a> and the \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">Jazz Festival\u003c/a> as one of Monterey’s major tourist draws.\u003c/p>\n\u003cp>It’s not as bizarre an idea as you might think. Dalí lived in Monterey off and on for seven years in the 1940s. The artist was a regular at the city’s famous Hotel Del Monte, the historic starting point for the 17-mile drive.\u003c/p>\n\u003cp>Watch Paramount Pictures’ coverage of a surrealist fundraiser Dalí threw for European artists displaced by World War II in 1941.\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/vg6i4E0Woak'\n title='//www.youtube.com/embed/vg6i4E0Woak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Stars like Bob Hope, Clark Gable, Bing Crosby, and Alfred Hitchcock reportedly attended, too. Dalí was not above fraternizing with local artists, though. He was an early member of the \u003ca href=\"http://carmelart.org/history/\" target=\"_blank\" rel=\"noopener\">Carmel Art Association\u003c/a>, actively participating in the group’s activities when he wasn’t in New York or Hollywood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year, the Monterey History and Art Association went looking for a fresh focus for the Museum of Monterey. Since its start in 1992, the institution, which doesn’t charge admission, has attracted fewer than 25,000 visitors a year and has failed to break even.\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/251082631″&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/251082631″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Highlighting local history is part of the organization’s mission. So after a call went out for fresh ideas, board members were excited to hear from a local businessman keen to share his Dalí collection with the public –- a collection unmatched by anything outside Europe or \u003ca href=\"http://thedali.org/\" target=\"_blank\" rel=\"noopener\">The Dalí\u003c/a> \u003ca href=\"http://thedali.org/\" target=\"_blank\" rel=\"noopener\">Museum\u003c/a> in Florida.\u003c/p>\n\u003cp>\u003cstrong>Nuts for Dalí\u003c/strong>\u003c/p>\n\u003cp>Dmitry Piterman maintains homes in Oakland and Pebble Beach, and he’s mad for Dalí. After earning a track scholarship to UC Berkeley, Piterman competed in the US Olympic trials for the 1992 games in Barcelona. He failed to qualify. But as a result of his visit to Spain, Piterman discovered Dalí. As Piterman’s career in real estate blossomed over the years, he plowed a fair bit of his spare income into Dalí’s art work.\u003c/p>\n\u003cp>Piterman has exhibited his collection before in Spain and Belgium. Now he’ll get to have a strong hand in the day-to-day management of the exhibition space in Monterey, and at a museum that is putting his collection front and center.\u003c/p>\n\u003cp>Association president Larry Chavez says he hopes to add to the collection from the museum’s own archives as well as from future purchases Piterman might make and from other Dalí art collectors.\u003c/p>\n\u003cp>\u003cstrong>The Fate of the Existing Collection\u003c/strong>\u003c/p>\n\u003cp>What’s going to happen to the existing collection? Work that was on loan is going back to its original owners. Much of it is headed to the \u003ca href=\"http://www.nps.gov/safr/index.htm\" target=\"_blank\" rel=\"noopener\">San Francisco Maritime Museum\u003c/a>. Local outfits like the \u003ca href=\"http://monterey.org/library/California-History-Room\" target=\"_blank\" rel=\"noopener\">Monterey Public Library\u003c/a> and the \u003ca href=\"http://www.dliflc.edu/about/command-history-office-3/\" target=\"_blank\" rel=\"noopener\">Defense Language Institute\u003c/a> will house other materials. Chavez adds there will also be a small exhibit of non-Dalí items at the museum and/or another location nearby.\u003c/p>\n\u003cp>Monterey County vigorously celebrates writers who’ve spent time in the region, including John Steinbeck, Robert Louis Stevenson, Robinson Jeffers, Henry Miller and Jack Kerouac. Dalí’s connection to the city is much less well known.\u003c/p>\n\u003cp>“Dalí, with his extravagance and with his out of the box thinking, probably chose Monterey because he found this a little haven for himself,” says Chavez.\u003c/p>\n\u003cp>The new Dalí museum will open in May, just in time for the summer tourist season.\u003c/p>\n\u003cp>\u003cstrong>Dalí on \u003cem>What’s My Line\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/f7SSkVpM4lE'\n title='//www.youtube.com/embed/f7SSkVpM4lE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11374909/salvador-dali-collection-coming-to-monterey",
"authors": [
"251"
],
"categories": [
"arts_1",
"arts_235",
"arts_70"
],
"tags": [
"arts_1037",
"arts_596"
],
"featImg": "arts_11375015",
"label": "arts"
},
"arts_11374700": {
"type": "posts",
"id": "arts_11374700",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11374700",
"score": null,
"sort": [
1456953050000
]
},
"guestAuthors": [],
"slug": "robin-williams-tunnel-now-identified-by-new-sign",
"title": "Robin Williams Tunnel Now Identified by New Sign",
"publishDate": 1456953050,
"format": "standard",
"headTitle": "Robin Williams Tunnel Now Identified by New Sign | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>A tunnel with rainbow arches that connects the Golden Gate Bridge to greater Marin County has officially become the Robin Williams tunnel.\u003c/p>\n\u003cp>The San Francisco Chronicle reports that the new Robin Williams Tunnel signs were installed Monday night.\u003c/p>\n\u003cp>The tunnel was unofficially known as the Waldo Tunnel.\u003c/p>\n\u003cp>The California State Senate last year approved a resolution to change the tunnel’s name to honor the late actor and comedian.\u003c/p>\n\u003cp>Williams first moved to the Bay Area when he was a teenager and continued to live in the North Bay until his death in 2014.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The two signs — one for each side of the tunnel — cost $3,000 that was paid for using private donations.\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\u003cp>— \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Additional reporting by Kevin L. Jones\u003c/p>\n\n",
"blocks": [],
"excerpt": null,
"status": "publish",
"parent": 0,
"modified": 1726710243,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 134
},
"headData": {
"title": "Robin Williams Tunnel Now Identified by New Sign | KQED",
"description": "A tunnel with rainbow arches that connects the Golden Gate Bridge to greater Marin County has officially become the Robin Williams tunnel. The San Francisco Chronicle reports that the new Robin Williams Tunnel signs were installed Monday night. The tunnel was unofficially known as the Waldo Tunnel. The California State Senate last year approved a resolution to change the tunnel's name to honor the late actor and comedian. Williams first moved to the Bay Area when he was a teenager and continued to live in the North Bay until his death in 2014. The two signs — one for each",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Robin Williams Tunnel Now Identified by New Sign",
"datePublished": "2016-03-02T13:10:50-08:00",
"dateModified": "2024-09-18T18:44:03-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Associated Press",
"path": "/arts/11374700/robin-williams-tunnel-now-identified-by-new-sign",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A tunnel with rainbow arches that connects the Golden Gate Bridge to greater Marin County has officially become the Robin Williams tunnel.\u003c/p>\n\u003cp>The San Francisco Chronicle reports that the new Robin Williams Tunnel signs were installed Monday night.\u003c/p>\n\u003cp>The tunnel was unofficially known as the Waldo Tunnel.\u003c/p>\n\u003cp>The California State Senate last year approved a resolution to change the tunnel’s name to honor the late actor and comedian.\u003c/p>\n\u003cp>Williams first moved to the Bay Area when he was a teenager and continued to live in the North Bay until his death in 2014.\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 two signs — one for each side of the tunnel — cost $3,000 that was paid for using private donations.\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\u003cp>— \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Additional reporting by Kevin L. Jones\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11374700/robin-williams-tunnel-now-identified-by-new-sign",
"authors": [
"byline_arts_11374700"
],
"categories": [
"arts_968",
"arts_74",
"arts_235",
"arts_990"
],
"tags": [
"arts_1310",
"arts_596"
],
"featImg": "arts_11374703",
"label": "arts"
},
"news_10879280": {
"type": "posts",
"id": "news_10879280",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10879280",
"score": null,
"sort": [
1456905953000
]
},
"guestAuthors": [],
"slug": "how-the-comedy-of-bordertown-perfectly-addresses-immigration-tensions",
"title": "How the Comedy of ‘Bordertown’ Nails Immigration Tensions",
"publishDate": 1456905953,
"format": "standard",
"headTitle": "How the Comedy of ‘Bordertown’ Nails Immigration Tensions | KQED",
"labelTerm": {
"term": 72,
"site": "news"
},
"content": "\u003cp>I don’t think I’m going out on a limb here by saying it’s been a wacky presidential primary season. And while reasonable minds can disagree on immigration policy, we can all agree that \u003ca href=\"https://www.youtube.com/watch?v=Yi33KkhKRWs\">lots of ugly things\u003c/a> are being said about immigrants.\u003c/p>\n\u003cp>For some insight, I turned to an unlikely source: \u003ca href=\"http://www.fox.com/watch/594219587792/7765855488\">“Bordertown.”\u003c/a> It’s an animated sitcom on Fox, set in the fictional bordertown of Mexifornia. It’s basically a comedy about immigration.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/249017415″ 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 the \u003ca href=\"http://www.fox.com/watch/598904899611/7765855488\">second episode\u003c/a>, Mexifornia residents congregate at a town hall meeting to discuss what to do with a $10 million windfall to the city budget.\u003c/p>\n\u003cp>“I think it should go toward building a border wall,” suggests Bud Buckwald, a border patrol agent and one of the show’s main characters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sound familiar?\u003c/p>\n\u003cp>http://www.fox.com/watch/598904899611/7765855488\u003c/p>\n\u003cp>“We wrote the show two years ago, before Donald Trump,” says \u003ca href=\"http://laloalcaraz.com/\">Lalo Alcaraz\u003c/a>, a writer and consultant on “Bordertown.”\u003c/p>\n\u003cp>America has been going through a huge demographic shift, and this election season is bringing the huge rifts it’s created into stark relief. Alcaraz, a longtime political cartoonist in Los Angeles, says animated comedy could be the best way for us to address these controversial topics head-on.\u003c/p>\n\u003cp>This wouldn’t be the first time Americans turned to comedy during times of social upheaval. “Bordertown” creator \u003ca href=\"http://www.imdb.com/name/nm0378262/\" target=\"_blank\" rel=\"noopener\">Mark Hentemann\u003c/a> modeled his animated sitcom on \u003ca href=\"http://www.imdb.com/title/tt0066626/\">“All in the Family.”\u003c/a> The legendary sitcom was set in the 1970s, in the midst of the Civil Rights Movement.\u003c/p>\n\u003cfigure id=\"attachment_10883078\" class=\"wp-caption alignright\" style=\"max-width: 436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10883078\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-800x940.jpg\" alt='Lalo Alcaraz, writer, cartoonist and consultant on \"Bordertown.\"' width=\"436\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-800x940.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-400x470.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-1180x1387.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-960x1128.jpg 960w\" sizes=\"(max-width: 436px) 100vw, 436px\">\u003cfigcaption class=\"wp-caption-text\">Lalo Alcaraz, writer, cartoonist and consultant on “Bordertown.” \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Back in the ‘All In the Family’ days in the ’70s, Archie Bunker was complaining about Black Power, feminism, the emerging gay rights movement,” Alcaraz says. “This is an updated version, and set in a place where we can talk about those things.”\u003c/p>\n\u003cp>While “All In the Family” was based in Queens and focused on urban issues, “Bordertown” is set on the outskirts of America. But the issues it raises are at the center of our political debate.\u003c/p>\n\u003cp>The show is based on two families, the Buckwalds and Gonzalezes. They are next-door neighbors. The Buckwalds are headed by Bud, who is a border patrol agent. And Ernesto, a gardener, is the patriarch of his clan.\u003c/p>\n\u003cp>“Bud Buckwald, who’s kind of a bigoted Archie Bunker-ish white guy,” Alcaraz says. “He feels out of sorts. He feels like his world has changed and can’t cope with the new reality that is the U.S.”\u003c/p>\n\u003cp>In one episode, Bud Buckwald bemoans what he sees, as his status declines in an increasingly diverse America.\u003c/p>\n\u003cp>“You know I was always told if I worked for the man long enough, eventually I’d become the man,” Buckwald says. “Well, I’ve been working at that station for 20 years but I ain’t the man. Steve is. Even Ernesto is the boss of his grass thingy. It’s like the Mexican has become the man and I’ve become the Mexican.”\u003c/p>\n\u003cp>And Bud’s Mexican immigrant neighbor, Ernesto?\u003c/p>\n\u003cfigure id=\"attachment_10883241\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/BordertownDriving-800x510.jpg\" alt=\"Bud (L) is enraged when he finds out that his daughter is engaged to J.C., Ernesto’s nephew.\" width=\"800\" height=\"510\" class=\"size-medium wp-image-10883241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-1180x752.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-960x612.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bud (L) is enraged when he finds out that his daughter is engaged to J.C., Ernesto’s nephew. \u003ccite>(Courtesy Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Ernesto Gonzalez has been in the U.S. for 25 years or so and is doing a little bit better than Bud, and Bud cannot deal with that,” Alcaraz says.\u003c/p>\n\u003cp>But like all the characters in “Bordertown,” and really, in much of America, Ernesto’s views on immigration are not easily understood.\u003c/p>\n\u003cp>In the episode about the border wall, Ernesto’s nephew urges him to speak out against it. Ernesto obliges and starts by telling the crowd, “I came to the U.S. where everybody’s voice can be heard and counted.”\u003c/p>\n\u003cp>Alcaraz says you think Ernesto is going to give an inspiring speech about how great America is, but it quickly devolves.\u003c/p>\n\u003cp>Ernesto hails America’s democratic process. It might not be perfect, he says, but it’s better than the government he left behind. And then he ends his speech by saying, “So in conclusion, Gonzalez landscaping, we love you lawn time!”\u003c/p>\n\u003cp>Alcaraz says the scene is a riff on how immigrants may have a political point of view, but at the end of the day they’re very practical people.\u003c/p>\n\u003cp>http://www.fox.com/watch/592630339703/7765855488\u003c/p>\n\u003cp>“In animation and cartoons, I firmly believe you can say so much more that you can’t in live action or boring old essays,” Alcaraz says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The jury is still out as to whether audiences agree, and there’s no word yet if “Bordertown” will get a second season. But a Trump presidency might make a second season too irresistible to pass up.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Longtime political cartoonist Lalo Alcaraz says the animated show could be the best way to address controversial topics head-on.",
"status": "publish",
"parent": 0,
"modified": 1721104180,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 26,
"wordCount": 907
},
"headData": {
"title": "How the Comedy of ‘Bordertown’ Nails Immigration Tensions | KQED",
"description": "Longtime political cartoonist Lalo Alcaraz says the animated show could be the best way to address controversial topics head-on.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "How the Comedy of ‘Bordertown’ Nails Immigration Tensions",
"datePublished": "2016-03-02T00:05:53-08:00",
"dateModified": "2024-07-15T21:29:40-07:00",
"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,
"path": "/news/10879280/how-the-comedy-of-bordertown-perfectly-addresses-immigration-tensions",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I don’t think I’m going out on a limb here by saying it’s been a wacky presidential primary season. And while reasonable minds can disagree on immigration policy, we can all agree that \u003ca href=\"https://www.youtube.com/watch?v=Yi33KkhKRWs\">lots of ugly things\u003c/a> are being said about immigrants.\u003c/p>\n\u003cp>For some insight, I turned to an unlikely source: \u003ca href=\"http://www.fox.com/watch/594219587792/7765855488\">“Bordertown.”\u003c/a> It’s an animated sitcom on Fox, set in the fictional bordertown of Mexifornia. It’s basically a comedy about immigration.\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/249017415″&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/249017415″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In the \u003ca href=\"http://www.fox.com/watch/598904899611/7765855488\">second episode\u003c/a>, Mexifornia residents congregate at a town hall meeting to discuss what to do with a $10 million windfall to the city budget.\u003c/p>\n\u003cp>“I think it should go toward building a border wall,” suggests Bud Buckwald, a border patrol agent and one of the show’s main characters.\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>Sound familiar?\u003c/p>\n\u003cp>http://www.fox.com/watch/598904899611/7765855488\u003c/p>\n\u003cp>“We wrote the show two years ago, before Donald Trump,” says \u003ca href=\"http://laloalcaraz.com/\">Lalo Alcaraz\u003c/a>, a writer and consultant on “Bordertown.”\u003c/p>\n\u003cp>America has been going through a huge demographic shift, and this election season is bringing the huge rifts it’s created into stark relief. Alcaraz, a longtime political cartoonist in Los Angeles, says animated comedy could be the best way for us to address these controversial topics head-on.\u003c/p>\n\u003cp>This wouldn’t be the first time Americans turned to comedy during times of social upheaval. “Bordertown” creator \u003ca href=\"http://www.imdb.com/name/nm0378262/\" target=\"_blank\" rel=\"noopener\">Mark Hentemann\u003c/a> modeled his animated sitcom on \u003ca href=\"http://www.imdb.com/title/tt0066626/\">“All in the Family.”\u003c/a> The legendary sitcom was set in the 1970s, in the midst of the Civil Rights Movement.\u003c/p>\n\u003cfigure id=\"attachment_10883078\" class=\"wp-caption alignright\" style=\"max-width: 436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10883078\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-800x940.jpg\" alt='Lalo Alcaraz, writer, cartoonist and consultant on \"Bordertown.\"' width=\"436\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-800x940.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-400x470.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-1180x1387.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/LaloAlcaraz-960x1128.jpg 960w\" sizes=\"(max-width: 436px) 100vw, 436px\">\u003cfigcaption class=\"wp-caption-text\">Lalo Alcaraz, writer, cartoonist and consultant on “Bordertown.” \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Back in the ‘All In the Family’ days in the ’70s, Archie Bunker was complaining about Black Power, feminism, the emerging gay rights movement,” Alcaraz says. “This is an updated version, and set in a place where we can talk about those things.”\u003c/p>\n\u003cp>While “All In the Family” was based in Queens and focused on urban issues, “Bordertown” is set on the outskirts of America. But the issues it raises are at the center of our political debate.\u003c/p>\n\u003cp>The show is based on two families, the Buckwalds and Gonzalezes. They are next-door neighbors. The Buckwalds are headed by Bud, who is a border patrol agent. And Ernesto, a gardener, is the patriarch of his clan.\u003c/p>\n\u003cp>“Bud Buckwald, who’s kind of a bigoted Archie Bunker-ish white guy,” Alcaraz says. “He feels out of sorts. He feels like his world has changed and can’t cope with the new reality that is the U.S.”\u003c/p>\n\u003cp>In one episode, Bud Buckwald bemoans what he sees, as his status declines in an increasingly diverse America.\u003c/p>\n\u003cp>“You know I was always told if I worked for the man long enough, eventually I’d become the man,” Buckwald says. “Well, I’ve been working at that station for 20 years but I ain’t the man. Steve is. Even Ernesto is the boss of his grass thingy. It’s like the Mexican has become the man and I’ve become the Mexican.”\u003c/p>\n\u003cp>And Bud’s Mexican immigrant neighbor, Ernesto?\u003c/p>\n\u003cfigure id=\"attachment_10883241\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/BordertownDriving-800x510.jpg\" alt=\"Bud (L) is enraged when he finds out that his daughter is engaged to J.C., Ernesto’s nephew.\" width=\"800\" height=\"510\" class=\"size-medium wp-image-10883241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-1180x752.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/BordertownDriving-960x612.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bud (L) is enraged when he finds out that his daughter is engaged to J.C., Ernesto’s nephew. \u003ccite>(Courtesy Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Ernesto Gonzalez has been in the U.S. for 25 years or so and is doing a little bit better than Bud, and Bud cannot deal with that,” Alcaraz says.\u003c/p>\n\u003cp>But like all the characters in “Bordertown,” and really, in much of America, Ernesto’s views on immigration are not easily understood.\u003c/p>\n\u003cp>In the episode about the border wall, Ernesto’s nephew urges him to speak out against it. Ernesto obliges and starts by telling the crowd, “I came to the U.S. where everybody’s voice can be heard and counted.”\u003c/p>\n\u003cp>Alcaraz says you think Ernesto is going to give an inspiring speech about how great America is, but it quickly devolves.\u003c/p>\n\u003cp>Ernesto hails America’s democratic process. It might not be perfect, he says, but it’s better than the government he left behind. And then he ends his speech by saying, “So in conclusion, Gonzalez landscaping, we love you lawn time!”\u003c/p>\n\u003cp>Alcaraz says the scene is a riff on how immigrants may have a political point of view, but at the end of the day they’re very practical people.\u003c/p>\n\u003cp>http://www.fox.com/watch/592630339703/7765855488\u003c/p>\n\u003cp>“In animation and cartoons, I firmly believe you can say so much more that you can’t in live action or boring old essays,” Alcaraz says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The jury is still out as to whether audiences agree, and there’s no word yet if “Bordertown” will get a second season. But a Trump presidency might make a second season too irresistible to pass up.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10879280/how-the-comedy-of-bordertown-perfectly-addresses-immigration-tensions",
"authors": [
"11099"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_1169",
"news_8",
"news_13"
],
"tags": [
"news_17286",
"news_472"
],
"featImg": "news_10883095",
"label": "news_72"
},
"arts_11372302": {
"type": "posts",
"id": "arts_11372302",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11372302",
"score": null,
"sort": [
1456870770000
]
},
"guestAuthors": [],
"slug": "coltrane-church-eviction-has-been-delayed-for-60-days",
"title": "Coltrane Church: Eviction Has Been Delayed for 60 Days",
"publishDate": 1456870770,
"format": "standard",
"headTitle": "Coltrane Church: Eviction Has Been Delayed for 60 Days | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cb>UPDATED:\u003c/b> March 1, 4:30pm. \u003c/p>\n\u003cp>San Francisco’s Saint John Will I Am Coltrane African Orthodox Church planned to protest their impending eviction Tuesday, but thanks to some good news received just hours before, they are going to be celebrating instead.\u003c/p>\n\u003cp>The church received a notice \u003ca href=\"http://ww2.kqed.org/arts/2016/02/24/coltrane-church-told-by-san-francisco-sheriff-it-has-a-week-to-relocate/\" target=\"_blank\" rel=\"noopener\">last week from the San Francisco’s Sheriff’s Department\u003c/a> that it must remove all of its possessions from its space in the West Bay Community Center by the morning of March 2. After fighting for weeks, the church appeared to have little recourse.\u003c/p>\n\u003cp>But just minutes before 2pm, the Coltrane Church tweeted from its account that “The People’s Power Prevails!”\u003c/p>\n\u003cp>https://twitter.com/ColtraneAOC/status/704785319099441152\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the church’s Facebook page, representatives thanked the church’s supporters:\u003c/p>\n\u003cp>https://www.facebook.com/stjohncoltranechurchwest/photos/a.284607624917.186773.274649844917/10154488586324918/\u003c/p>\n\u003cp>The church announced that it was celebrating in front of its current location — 1286 Fillmore St., San Francisco — at 4pm Tuesday.\u003c/p>\n\u003cp>At the event, attended by dozens of supporters and local media, Archbishop Franzo King, who co-founded the church back in 1971, arrived to applause.\u003c/p>\n\u003cp>“It was not a reprieve; we just refused to leave at gunpoint,” King told the crowd.\u003c/p>\n\u003cp>After speaking with the media, King announced that another meeting would be held on March 20 at 11am, where church representatives would discuss issues they had with the landlords, the managers of the West Bay Community Center. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when new details are learned.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "San Francisco's Coltrane Church gets a two-month reprieve to raise funds and relocate.",
"status": "publish",
"parent": 0,
"modified": 1726788156,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 260
},
"headData": {
"title": "Coltrane Church: Eviction Has Been Delayed for 60 Days | KQED",
"description": "San Francisco's Coltrane Church gets a two-month reprieve to raise funds and relocate.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Coltrane Church: Eviction Has Been Delayed for 60 Days",
"datePublished": "2016-03-01T14:19:30-08:00",
"dateModified": "2024-09-19T16:22:36-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11372302/coltrane-church-eviction-has-been-delayed-for-60-days",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATED:\u003c/b> March 1, 4:30pm. \u003c/p>\n\u003cp>San Francisco’s Saint John Will I Am Coltrane African Orthodox Church planned to protest their impending eviction Tuesday, but thanks to some good news received just hours before, they are going to be celebrating instead.\u003c/p>\n\u003cp>The church received a notice \u003ca href=\"http://ww2.kqed.org/arts/2016/02/24/coltrane-church-told-by-san-francisco-sheriff-it-has-a-week-to-relocate/\" target=\"_blank\" rel=\"noopener\">last week from the San Francisco’s Sheriff’s Department\u003c/a> that it must remove all of its possessions from its space in the West Bay Community Center by the morning of March 2. After fighting for weeks, the church appeared to have little recourse.\u003c/p>\n\u003cp>But just minutes before 2pm, the Coltrane Church tweeted from its account that “The People’s Power Prevails!”\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "704785319099441152"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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 church’s Facebook page, representatives thanked the church’s supporters:\u003c/p>\n\u003cp>https://www.facebook.com/stjohncoltranechurchwest/photos/a.284607624917.186773.274649844917/10154488586324918/\u003c/p>\n\u003cp>The church announced that it was celebrating in front of its current location — 1286 Fillmore St., San Francisco — at 4pm Tuesday.\u003c/p>\n\u003cp>At the event, attended by dozens of supporters and local media, Archbishop Franzo King, who co-founded the church back in 1971, arrived to applause.\u003c/p>\n\u003cp>“It was not a reprieve; we just refused to leave at gunpoint,” King told the crowd.\u003c/p>\n\u003cp>After speaking with the media, King announced that another meeting would be held on March 20 at 11am, where church representatives would discuss issues they had with the landlords, the managers of the West Bay Community Center. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when new details are learned.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11372302/coltrane-church-eviction-has-been-delayed-for-60-days",
"authors": [
"93"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596"
],
"featImg": "arts_11316818",
"label": "arts"
},
"arts_11372194": {
"type": "posts",
"id": "arts_11372194",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11372194",
"score": null,
"sort": [
1456869596000
]
},
"guestAuthors": [],
"slug": "appeals-court-puts-bill-cosbys-criminal-case-on-hold",
"title": "Appeals Court Puts Bill Cosby's Criminal Case on Hold",
"publishDate": 1456869596,
"format": "standard",
"headTitle": "Appeals Court Puts Bill Cosby’s Criminal Case on Hold | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Bill Cosby’s criminal sex-assault case was temporarily halted days before a key hearing while a Pennsylvania appeals court considers his effort to have the case thrown out before trial.\u003c/p>\n\u003cp>[contextly_sidebar id=”cx6xkDwsVMlWQRp7QgOpFDFFi1XoUWAJ”]\u003c/p>\n\u003cp>The Pennsylvania Superior Court granted Cosby a postponement Tuesday while the court decides whether to hear Cosby’s pretrial appeal. His preliminary hearing had been set for next week.\u003c/p>\n\u003cp>Cosby, 78, is accused of drugging and molesting a Temple University employee in his suburban Philadelphia home in 2004.\u003c/p>\n\u003cp>He said he had a promise from a former district attorney that he would never be charged over his encounter with Andrea Constand. However, a different district attorney reopened the case last year and filed charges in December, weeks before the statute of limitations expired.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The preliminary hearing to determine if probable cause exists to send the case to trial had been set for March 8. The hearing seemed likely to be postponed unless the Superior Court quickly decided to quash his appeal.\u003c/p>\n\u003cp>Prosecutors have argued that he does not have the right to a pretrial appeal and should instead file the usual post-trial appeal if he is convicted. A Montgomery County judge who heard two days of evidence on the issue agreed and refused to ask the appeals court to intervene. The judge, Common Pleas Judge Steven O’Neill, could end up with the case if it goes to trial.\u003c/p>\n\u003cp>O’Neill found no credible evidence of a binding agreement that Cosby would never be charged. The former district attorney, Bruce Castor, had testified for Cosby but acknowledged there was no written agreement forged.\u003c/p>\n\u003cp>Cosby is embroiled in civil litigation in several states, but the Pennsylvania case is the only one to lead to criminal charges. He has teams of lawyers for the case itself, for appellate issues and for a countersuit he filed last month against accuser Andrea Constand. He also is embroiled in defamation lawsuits with some of the dozens of women around the country who accuse him of molesting them.\u003c/p>\n\u003cp>Cosby has posted $1 million bail in the Pennsylvania case. He faces five to 10 years in prison if convicted of felony indecent assault.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
"blocks": [],
"excerpt": null,
"status": "publish",
"parent": 0,
"modified": 1726710250,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 377
},
"headData": {
"title": "Appeals Court Puts Bill Cosby's Criminal Case on Hold | KQED",
"description": "Bill Cosby's criminal sex-assault case was temporarily halted days before a key hearing while a Pennsylvania appeals court considers his effort to have the case thrown out before trial. The Pennsylvania Superior Court granted Cosby a postponement Tuesday while the court decides whether to hear Cosby's pretrial appeal. His preliminary hearing had been set for next week. Cosby, 78, is accused of drugging and molesting a Temple University employee in his suburban Philadelphia home in 2004. He said he had a promise from a former district attorney that he would never be charged over his encounter with Andrea",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Appeals Court Puts Bill Cosby's Criminal Case on Hold",
"datePublished": "2016-03-01T13:59:56-08:00",
"dateModified": "2024-09-18T18:44:10-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Maryclaire Dale, Associated Press",
"path": "/arts/11372194/appeals-court-puts-bill-cosbys-criminal-case-on-hold",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bill Cosby’s criminal sex-assault case was temporarily halted days before a key hearing while a Pennsylvania appeals court considers his effort to have the case thrown out before trial.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Pennsylvania Superior Court granted Cosby a postponement Tuesday while the court decides whether to hear Cosby’s pretrial appeal. His preliminary hearing had been set for next week.\u003c/p>\n\u003cp>Cosby, 78, is accused of drugging and molesting a Temple University employee in his suburban Philadelphia home in 2004.\u003c/p>\n\u003cp>He said he had a promise from a former district attorney that he would never be charged over his encounter with Andrea Constand. However, a different district attorney reopened the case last year and filed charges in December, weeks before the statute of limitations expired.\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 preliminary hearing to determine if probable cause exists to send the case to trial had been set for March 8. The hearing seemed likely to be postponed unless the Superior Court quickly decided to quash his appeal.\u003c/p>\n\u003cp>Prosecutors have argued that he does not have the right to a pretrial appeal and should instead file the usual post-trial appeal if he is convicted. A Montgomery County judge who heard two days of evidence on the issue agreed and refused to ask the appeals court to intervene. The judge, Common Pleas Judge Steven O’Neill, could end up with the case if it goes to trial.\u003c/p>\n\u003cp>O’Neill found no credible evidence of a binding agreement that Cosby would never be charged. The former district attorney, Bruce Castor, had testified for Cosby but acknowledged there was no written agreement forged.\u003c/p>\n\u003cp>Cosby is embroiled in civil litigation in several states, but the Pennsylvania case is the only one to lead to criminal charges. He has teams of lawyers for the case itself, for appellate issues and for a countersuit he filed last month against accuser Andrea Constand. He also is embroiled in defamation lawsuits with some of the dozens of women around the country who accuse him of molesting them.\u003c/p>\n\u003cp>Cosby has posted $1 million bail in the Pennsylvania case. He faces five to 10 years in prison if convicted of felony indecent assault.\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/11372194/appeals-court-puts-bill-cosbys-criminal-case-on-hold",
"authors": [
"byline_arts_11372194"
],
"categories": [
"arts_968",
"arts_74",
"arts_235",
"arts_990"
],
"tags": [
"arts_1254",
"arts_596"
],
"featImg": "arts_11300055",
"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": 3156,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3759,
"relation": "eq"
},
"items": [
"news_10888675",
"arts_11378559",
"arts_11377173",
"arts_11377501",
"arts_11375129",
"arts_11374908",
"arts_11370839",
"arts_11374909",
"arts_11374700",
"news_10879280",
"arts_11372302",
"arts_11372194"
],
"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"
},
"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_102": {
"type": "terms",
"id": "news_102",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "102",
"found": true
},
"relationships": {},
"featImg": null,
"name": "marijuana",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "marijuana Archives | KQED News",
"ogDescription": null
},
"ttid": 106,
"slug": "marijuana",
"isLoading": false,
"link": "/news/tag/marijuana"
},
"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_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_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_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_626": {
"type": "terms",
"id": "arts_626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 634,
"slug": "the-do-list-featured",
"isLoading": false,
"link": "/arts/tag/the-do-list-featured"
},
"arts_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_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_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_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_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_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_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_1310": {
"type": "terms",
"id": "arts_1310",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1310",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Art in the Open",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Art in the Open Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1322,
"slug": "art-in-the-open",
"isLoading": false,
"link": "/arts/tag/art-in-the-open"
},
"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_1169": {
"type": "terms",
"id": "news_1169",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "1169",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Immigration",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Immigration Archives | KQED News",
"ogDescription": null
},
"ttid": 1180,
"slug": "immigration",
"isLoading": false,
"link": "/news/category/immigration"
},
"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_13": {
"type": "terms",
"id": "news_13",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "13",
"found": true
},
"relationships": {},
"name": "Politics",
"slug": "politics",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "Politics | KQED News",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13,
"isLoading": false,
"link": "/news/category/politics"
},
"news_17286": {
"type": "terms",
"id": "news_17286",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17286",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tcr",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tcr Archives | KQED News",
"ogDescription": null
},
"ttid": 17318,
"slug": "tcr",
"isLoading": false,
"link": "/news/tag/tcr"
},
"news_472": {
"type": "terms",
"id": "news_472",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "472",
"found": true
},
"relationships": {},
"featImg": null,
"name": "television",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "television Archives | KQED News",
"ogDescription": null
},
"ttid": 481,
"slug": "television",
"isLoading": false,
"link": "/news/tag/television"
},
"arts_1254": {
"type": "terms",
"id": "arts_1254",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1254",
"found": true
},
"relationships": {},
"featImg": null,
"name": "exclude",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "exclude Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1266,
"slug": "exclude",
"isLoading": false,
"link": "/arts/tag/exclude"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}