window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_10933934": {
"type": "attachments",
"id": "arts_10933934",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10933934",
"found": true
},
"parent": 10933932,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/Behams-Prodigal-Son-400x246.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 246
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/Behams-Prodigal-Son-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/Behams-Prodigal-Son.jpg",
"width": 800,
"height": 491
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/Behams-Prodigal-Son-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/Behams-Prodigal-Son-800x491.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 491
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/Behams-Prodigal-Son-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/Behams-Prodigal-Son-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/Behams-Prodigal-Son-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/Behams-Prodigal-Son-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1441296360,
"modified": 1441296536,
"caption": "An etching by Hans Beham Depicting the return of the prodigal son",
"description": "An etching by Hans Beham Depicting the return of the prodigal son",
"title": "Hans Beham\" etching the prodigal son",
"credit": "Cantor Arts Center",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10932653": {
"type": "attachments",
"id": "arts_10932653",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10932653",
"found": true
},
"parent": 10932463,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/DCandRachel-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/DCandRachel.jpg",
"width": 648,
"height": 365
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/DCandRachel-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/DCandRachel-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/DCandRachel-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/DCandRachel-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/DCandRachel-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1441240927,
"modified": 1441241521,
"caption": "Curator Rachel Adams and David Cunningham at his project space, 2009. (Photo: Alan Bamberger / artbusiness.com)",
"description": null,
"title": "DCandRachel",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10933773": {
"type": "attachments",
"id": "arts_10933773",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10933773",
"found": true
},
"parent": 10933772,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/10933772-thumb-400x324.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 324
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/10933772-thumb.jpg",
"width": 400,
"height": 324
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/10933772-thumb-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/10933772-thumb-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/10933772-thumb-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/10933772-thumb-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/09/10933772-thumb-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1441286485,
"modified": 1441286485,
"caption": null,
"description": null,
"title": "Thumbnail for 10933772",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10659942": {
"type": "attachments",
"id": "news_10659942",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10659942",
"found": true
},
"parent": 10659934,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16510_Porn-Hands-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16510_Porn-Hands-qut-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16510_Porn-Hands-qut-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16510_Porn-Hands-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16510_Porn-Hands-qut.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16510_Porn-Hands-qut-1440x960.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 960
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16510_Porn-Hands-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16510_Porn-Hands-qut-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16510_Porn-Hands-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16510_Porn-Hands-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16510_Porn-Hands-qut-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16510_Porn-Hands-qut-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16510_Porn-Hands-qut-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16510_Porn-Hands-qut-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16510_Porn-Hands-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1440785410,
"modified": 1573920748,
"caption": "The advent of high speed Internet service means a limitless variety of pornography is now available all the time, everywhere.",
"description": "The advent of high-speed Internet service means a limitless variety of pornography is now available all the time, everywhere.",
"title": "RS16510_Porn Hands-qut",
"credit": "Jeremy Raff/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10666083": {
"type": "attachments",
"id": "news_10666083",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10666083",
"found": true
},
"parent": 10647076,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/JorgeMagda-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/JorgeMagda-400x390.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 390
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/JorgeMagda-960x937.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 937
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/JorgeMagda-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/JorgeMagda.jpg",
"width": 1920,
"height": 1873
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/JorgeMagda-1440x1405.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 1405
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/JorgeMagda-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/JorgeMagda-800x780.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 780
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/JorgeMagda-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/JorgeMagda-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/JorgeMagda-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/JorgeMagda-1920x1873.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1873
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/JorgeMagda-1180x1151.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 1151
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/JorgeMagda-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/JorgeMagda-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1441228044,
"modified": 1441228131,
"caption": "Jorge Arreola and Maria Magdalena Ortega Delgado are three years into an involuntary 10-year separation.",
"description": "Jorge Arreola and Maria Magdalena Ortega Delgado are three years into an involuntary 10-year separation.",
"title": "JorgeMagda",
"credit": "Photo: Isaac Daniel Ortega Delgado",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10665771": {
"type": "attachments",
"id": "news_10665771",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10665771",
"found": true
},
"parent": 10665724,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/7721919384_e2d4c2f097_k-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/7721919384_e2d4c2f097_k-400x281.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 281
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/7721919384_e2d4c2f097_k-960x675.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 675
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/7721919384_e2d4c2f097_k-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/7721919384_e2d4c2f097_k-e1441204464538.jpg",
"width": 1920,
"height": 1349
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/7721919384_e2d4c2f097_k-1440x1012.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 1012
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/7721919384_e2d4c2f097_k-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/7721919384_e2d4c2f097_k-800x562.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 562
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/7721919384_e2d4c2f097_k-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/7721919384_e2d4c2f097_k-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/7721919384_e2d4c2f097_k-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/7721919384_e2d4c2f097_k-1920x1349.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1349
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/7721919384_e2d4c2f097_k-1180x829.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 829
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/7721919384_e2d4c2f097_k-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/09/7721919384_e2d4c2f097_k-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1441204392,
"modified": 1441204453,
"caption": "Berkeley Public Library's landmark Central Branch. ",
"description": null,
"title": "Berkeley Public Library",
"credit": "\u003ca href=\"https://flic.kr/p/cLmRB7 target=\"_blank\">Sarah Stierch/Flickr\u003c/a>",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10922442": {
"type": "attachments",
"id": "arts_10922442",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10922442",
"found": true
},
"parent": 10922430,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/BigBlueCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/BigBlueCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/BigBlueCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/BigBlueCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/BigBlueCover.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/BigBlueCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/BigBlueCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/BigBlueCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/BigBlueCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/BigBlueCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/BigBlueCover-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/BigBlueCover-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/BigBlueCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/BigBlueCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1440780309,
"modified": 1440780331,
"caption": "Chris Sollars, Still from 'The Swimmer,' 2013. (Video still: the artist)",
"description": null,
"title": "BigBlueCover",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10927052": {
"type": "attachments",
"id": "arts_10927052",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10927052",
"found": true
},
"parent": 10927051,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/gettyimages-112044824-4995cc86cfaf9c6542d52060511579d04ae77a1c-e1440997163761-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/gettyimages-112044824-4995cc86cfaf9c6542d52060511579d04ae77a1c-e1440997163761-400x244.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 244
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/gettyimages-112044824-4995cc86cfaf9c6542d52060511579d04ae77a1c-e1440997163761-960x585.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 585
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/gettyimages-112044824-4995cc86cfaf9c6542d52060511579d04ae77a1c-e1440997163761-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/gettyimages-112044824-4995cc86cfaf9c6542d52060511579d04ae77a1c-e1440997187456.jpg",
"width": 1900,
"height": 1159
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/gettyimages-112044824-4995cc86cfaf9c6542d52060511579d04ae77a1c-e1440997163761-1180x720.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 720
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/gettyimages-112044824-4995cc86cfaf9c6542d52060511579d04ae77a1c-e1440997163761-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/gettyimages-112044824-4995cc86cfaf9c6542d52060511579d04ae77a1c-e1440997163761-800x488.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 488
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/gettyimages-112044824-4995cc86cfaf9c6542d52060511579d04ae77a1c-e1440997163761-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/gettyimages-112044824-4995cc86cfaf9c6542d52060511579d04ae77a1c-e1440997163761-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/gettyimages-112044824-4995cc86cfaf9c6542d52060511579d04ae77a1c-e1440997163761-1920x1171.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1171
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/gettyimages-112044824-4995cc86cfaf9c6542d52060511579d04ae77a1c-e1440997163761-1180x720.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 720
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/gettyimages-112044824-4995cc86cfaf9c6542d52060511579d04ae77a1c-e1440997163761-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/gettyimages-112044824-4995cc86cfaf9c6542d52060511579d04ae77a1c-e1440997163761-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1440996999,
"modified": 1440997119,
"caption": "Wes Craven, the legendary horror film director, has died at the age of 76. Here, he's shown at the premiere of Scream 4 in 2011.",
"description": "Wes Craven, the legendary horror film director, has died at the age of 76. Here, he's shown at the premiere of \u003cem>Scream 4 \u003c/em>in 201",
"title": "Wes Craven, the legendary horror film director, has died at the age of 76. Here, he's shown at the premiere of Scream 4 in 2011.",
"credit": "Frazer Harrison/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10926145": {
"type": "attachments",
"id": "arts_10926145",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10926145",
"found": true
},
"parent": 10926144,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/oliver-sacks-cbebb26474f807f35292daff7445256fa1667b6f-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/oliver-sacks-cbebb26474f807f35292daff7445256fa1667b6f-400x300.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 300
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/oliver-sacks-cbebb26474f807f35292daff7445256fa1667b6f-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/oliver-sacks-cbebb26474f807f35292daff7445256fa1667b6f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/oliver-sacks-cbebb26474f807f35292daff7445256fa1667b6f.jpg",
"width": 2664,
"height": 1998
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/oliver-sacks-cbebb26474f807f35292daff7445256fa1667b6f-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/oliver-sacks-cbebb26474f807f35292daff7445256fa1667b6f-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/oliver-sacks-cbebb26474f807f35292daff7445256fa1667b6f-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/oliver-sacks-cbebb26474f807f35292daff7445256fa1667b6f-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/oliver-sacks-cbebb26474f807f35292daff7445256fa1667b6f-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/oliver-sacks-cbebb26474f807f35292daff7445256fa1667b6f-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/oliver-sacks-cbebb26474f807f35292daff7445256fa1667b6f-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/oliver-sacks-cbebb26474f807f35292daff7445256fa1667b6f-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/oliver-sacks-cbebb26474f807f35292daff7445256fa1667b6f-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1440952125,
"modified": 1440952125,
"caption": null,
"description": "Neurologist Dr. Oliver Sacks speaks at Columbia University in June 2009 in New York City. Sacks, a prolific author and commentator, has died at age 82.",
"title": "Neurologist Dr. Oliver Sacks speaks at Columbia University in June 2009 in New York City. Sacks, a prolific author and commentator, has died at age 82.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10919736": {
"type": "attachments",
"id": "arts_10919736",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10919736",
"found": true
},
"parent": 10919734,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Latina-Rosies-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Latina-Rosies-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Latina-Rosies-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Latina-Rosies-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Latina-Rosies.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Latina-Rosies-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Latina-Rosies-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Latina-Rosies-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Latina-Rosies-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Latina-Rosies-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Latina-Rosies-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Latina-Rosies-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Latina-Rosies-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Latina-Rosies-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1440650641,
"modified": 1440650641,
"caption": null,
"description": null,
"title": "Latina Rosies",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10918962": {
"type": "attachments",
"id": "arts_10918962",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10918962",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Mark_Rucker_1_printCROP-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Mark_Rucker_1_printCROP-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Mark_Rucker_1_printCROP-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Mark_Rucker_1_printCROP-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Mark_Rucker_1_printCROP.jpg",
"width": 1900,
"height": 1069
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Mark_Rucker_1_printCROP-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Mark_Rucker_1_printCROP-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Mark_Rucker_1_printCROP-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Mark_Rucker_1_printCROP-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Mark_Rucker_1_printCROP-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Mark_Rucker_1_printCROP-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Mark_Rucker_1_printCROP-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/Mark_Rucker_1_printCROP-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1440615451,
"modified": 1440615483,
"caption": "A.C.T. Associate Artistic Director Mark Rucker\n",
"description": "A.C.T. Associate Artistic Director Mark Rucker",
"title": "Associate Artistic Director Mark Rucker.Photo by Kevin Berne.",
"credit": "Photo by Kevin Berne.",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10917233": {
"type": "attachments",
"id": "arts_10917233",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10917233",
"found": true
},
"parent": 10917152,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/drillcourt_a-1030x576.jpg",
"width": 1030,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/drillcourt_a-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/drillcourt_a-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/drillcourt_a-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/drillcourt_a.jpg",
"width": 1030,
"height": 579
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/drillcourt_a-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/drillcourt_a-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/drillcourt_a-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/drillcourt_a-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/drillcourt_a-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1440534250,
"modified": 1459790185,
"caption": "Drill Court, the new 4,000-person venue inside the Kink.com Armory.",
"description": "Drill Court, the new 4,000-person venue inside the Kink.com Armory",
"title": "drillcourt_a",
"credit": "Photo courtesy the Armory",
"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_10665724": {
"type": "authors",
"id": "byline_news_10665724",
"meta": {
"override": true
},
"slug": "byline_news_10665724",
"name": "\u003cstrong>\u003ca href=\"http://www.berkeleyside.com/author/tracey/\" target=\"_blank\">Tracey Taylor\u003c/a>\u003cbr />Berkeleyside\u003c/strong>",
"isLoading": false
},
"byline_arts_10927051": {
"type": "authors",
"id": "byline_arts_10927051",
"meta": {
"override": true
},
"slug": "byline_arts_10927051",
"name": "Camila Domonoske",
"isLoading": false
},
"byline_arts_10926144": {
"type": "authors",
"id": "byline_arts_10926144",
"meta": {
"override": true
},
"slug": "byline_arts_10926144",
"name": "Scott Neuman",
"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"
},
"cfrock": {
"type": "authors",
"id": "58",
"meta": {
"index": "authors_1716337520",
"id": "58",
"found": true
},
"name": "Christian L. Frock",
"firstName": "Christian L.",
"lastName": "Frock",
"slug": "cfrock",
"email": "christian@invisiblevenue.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/da93aa5c1bc6f6561a99d5073186102c?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"contributor"
]
}
],
"headData": {
"title": "Christian L. Frock | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/da93aa5c1bc6f6561a99d5073186102c?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/da93aa5c1bc6f6561a99d5073186102c?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cfrock"
},
"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"
},
"kqed": {
"type": "authors",
"id": "236",
"meta": {
"index": "authors_1716337520",
"id": "236",
"found": true
},
"name": "KQED News Staff",
"firstName": "KQED News Staff",
"lastName": null,
"slug": "kqed",
"email": "faq@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/ef0e801a68c4c54afa9180db14084167?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "futureofyou",
"roles": [
"author"
]
}
],
"headData": {
"title": "KQED News Staff | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/ef0e801a68c4c54afa9180db14084167?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ef0e801a68c4c54afa9180db14084167?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kqed"
},
"pollystryker": {
"type": "authors",
"id": "250",
"meta": {
"index": "authors_1716337520",
"id": "250",
"found": true
},
"name": "Polly Stryker",
"firstName": "Polly",
"lastName": "Stryker",
"slug": "pollystryker",
"email": "pstryker@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"science"
],
"title": "Editor",
"bio": "Polly Stryker is a former editor for KQED's Science desk. She and reporter/host Rachael Myrow produced the KQED podcast, \u003ca href=\"http://www.npr.org/podcasts/448072249/love-in-the-digital-age\">Love in the Digital Age\u003c/a>.\r\n\r\nPolly has worked for a variety of news and public affairs programs, including most recently as editor of \u003cem>The California Report\u003c/em>. She also edited \u003ca href=\"https://ww2.kqed.org/news/programs/the-california-report\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The California Report'\u003c/em>s\u003c/a> \u003ca href=\"http://www.californiareport.org/healthdialogues/\" target=\"_blank\" rel=\"noopener noreferrer\">“Health Dialogues.”\u003c/a> Before that, she was a producer on \u003cem>\u003ca href=\"http://www.scpr.org/programs/airtalk/\" target=\"_blank\" rel=\"noopener noreferrer\">AirTalk\u003c/a>\u003c/em> with Larry Mantle on \u003ca href=\"http://www.scpr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">KPCC\u003c/a> radio, and \u003cem>\u003ca href=\"http://www.kpbs.org/news/midday-edition/\">These Days\u003c/a>\u003c/em> on KPBS. Polly’s work has won awards from the Radio and Television News Directors Association of Northern California, the Society of Professional Journalists (Southern California and Northern California chapters), the Radio and Television News Association. She's also won a Taste Award.\r\n\r\nShe considers herself to be a citizen of the world, having grown up in Cairo before coming to the United States. Polly speaks Arabic and can say, \"I’d like a martini, please\" in Swahili.",
"avatar": "https://secure.gravatar.com/avatar/5012854a99868cb15a517a876d88f736?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "stateofhealth",
"roles": [
"author"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Polly Stryker | KQED",
"description": "Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/5012854a99868cb15a517a876d88f736?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5012854a99868cb15a517a876d88f736?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/pollystryker"
},
"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"
},
"asingh": {
"type": "authors",
"id": "7235",
"meta": {
"index": "authors_1716337520",
"id": "7235",
"found": true
},
"name": "Abhi Singh",
"firstName": "Abhi",
"lastName": "Singh",
"slug": "asingh",
"email": "asingh@KQED.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/0a221f8ba680e55e147ee49e20fb590e?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Abhi Singh | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/0a221f8ba680e55e147ee49e20fb590e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/0a221f8ba680e55e147ee49e20fb590e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/asingh"
}
},
"pagesReducer": {
"arts_category_news": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"score": 10.815672
},
"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": 287
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=news",
"seeMore": false,
"paginated": true,
"page": 287
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_10933932": {
"type": "posts",
"id": "arts_10933932",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10933932",
"score": null,
"sort": [
1441317651000
]
},
"guestAuthors": [],
"slug": "fighting-the-empathy-deficit-how-the-arts-can-make-us-more-compassionate",
"title": "Fighting the Empathy Deficit: How the Arts Can Make Us More Compassionate",
"publishDate": 1441317651,
"format": "standard",
"headTitle": "Fighting the Empathy Deficit: How the Arts Can Make Us More Compassionate | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"http://web.stanford.edu/group/religiouslife/cgi-bin/wordpress/about-orl/orl-staff/the-very-rev-dr-jane-shaw/\" target=\"_blank\" rel=\"noopener\">Stanford University’s Jane Shaw \u003c/a>is a kind of empathy activist.\u003c/p>\n\u003cp>“How do you make the leap,” she said a few days ago, “to understand the experience of another person is really what empathy’s about.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/222258730″ 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>Shaw, Stanford’s Dean for Religious Life, was showing me around a small-but-choice exhibit called \u003ca href=\"http://museum.stanford.edu/view/exhibition_sched_new.html#Empathy\" target=\"_blank\" rel=\"noopener\">\u003cem>Empathy\u003c/em>, \u003c/a>at Stanford’s \u003ca href=\"http://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10933933\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jane-Shaw-e1441297287793-400x364.jpg\" alt=\"Jane Shaw, Dean for Religious Life at Stanford University\" width=\"400\" height=\"364\" class=\"size-thumbnail wp-image-10933933\">\u003cfigcaption class=\"wp-caption-text\">Jane Shaw, Dean for Religious Life at Stanford University \u003ccite>(Courtesy: Jane Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is a companion piece to a class on empathy Shaw is teaching this fall, and a way for any museum goer to engage with a hot topic these days for religious scholars, neuroscientists, artists and politicians.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Everyone from President Barack Obama to social psychologists are reporting a deficit in empathy and or a lack of compassion among college students, and a corresponding rise in narcissism.\u003c/p>\n\u003cp>“We live in a pretty individualistic society,” Shaw said, “It’s all about the selfie… which is me, me, me, right?”\u003c/p>\n\u003cp>But Bay Area residents have a surprising number of ways to refresh their empathy skills through the arts, including Shaw’s exhibit.\u003c/p>\n\u003cp>There’s a pair of Diane Arbus photos: one of a tattooed man and another of female impersonator that Shaw notes raise issues about “the difference between objectifying the strange, and empathizing with the strange.”\u003c/p>\n\u003cp>The key images in the show may be a series of four etchings by Hans Beham, based on Jesus’ parable about the Prodigal Son.\u003c/p>\n\u003cp>The parable describes how the younger of two sons demands his inheritance, wastes it in wild living, then returns home, expecting to be punished. To his and his older brother’s surprise, the father greets the prodigal with open arms.\u003c/p>\n\u003cp>“I think the prodigal son story is important,” Shaw said, “because at different times we can all relate to all of the characters.\u003c/p>\n\u003cp>“Are we the father distraught by the son who’s gone off, and just unbelievably thrilled that the younger son has come home?” Shaw asks. “Or are we the older son who’s been good and dutiful, then when the younger son comes back, he’s the one who gets the fatted calf for him?”\u003c/p>\n\u003cp>The point, Shaw says, is not to judge, but to empathize — to put oneself in someone else’s shoes.\u003c/p>\n\u003cp>That’s an apt metaphor for the actress and playwright \u003ca href=\"https://live.stanford.edu/calendar/October-2015/all/all/all/Theater\" target=\"_blank\" rel=\"noopener\">Anna Deveare Smith\u003c/a>, who’ll be a guest lecturer for Shaw’s class. Smith is known for her documentary theater work about class and race, in which she embodies the words and physical tics of the people she interviews. She often works barefoot so she can better “walk in the words,” she says, “of her subjects.”\u003c/p>\n\u003cp>It’s a sign of the power of art, especially theater, to inspire empathy.\u003c/p>\n\u003cp>In fact Shaw’s class made me think about the preshow welcome I’ve often heard from Bill English, Artistic Director for San Francisco Playhouse.\u003c/p>\n\u003cp>“We like to think of ourselves as our community’s empathy gym,” is how Bill English opened a recent performance. “It’s a place where we come to work out our powers of compassion.\u003c/p>\n\u003cfigure id=\"attachment_10933935\" class=\"wp-caption alignright\" style=\"max-width: 361px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Bill-English-and-Susi-Damilano-e1441303876539.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10933935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Bill-English-and-Susi-Damilano-e1441303876539.png\" alt=\"San Francisco Playhouse Artistic Director Bill English and Executive Director Susi Damilano\" width=\"361\" height=\"216\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Playhouse Artistic Director Bill English and Executive Director Susi Damilano \u003ccite>(Courtesy San Francisco Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We identify with these actors up here. And we feel what they feel, we love what they love, and we hope what they hope for. And it’s our belief we can take that spirit of unity that we build together in the dark, out into the streets, and make our world a better place one play at a time.”\u003c/p>\n\u003cp>A comment that draws both laughs and applause for its heartfelt idealism.\u003c/p>\n\u003cp>The funny thing is when English talks about theater as an empathy gym, he sounds like \u003ca href=\"http://ssnl.stanford.edu/people\" target=\"_blank\" rel=\"noopener\">Jamil Zaki,\u003c/a> a Stanford professor and neuropsychologist doing research on empathy using new tools like brain scans from an MRI.\u003c/p>\n\u003cp>“I think of lots of different forms of art as empathy boot camp,” Zaki said.\u003c/p>\n\u003cp>A few years ago Zaki looked at that \u003ca href=\"http://www.scientificamerican.com/article/what-me-care/\" target=\"_blank\" rel=\"noopener\">research showing that college students are less empathetic today than 30 years ago.\u003c/a>\u003c/p>\n\u003cp>“It’s a lot easier to insult someone in a YouTube comment section when you’re anonymous and they’re anonymous, and you don’t have to see their reaction, than when you’re right in front of them,” Zaki said.\u003c/p>\n\u003cp>“The arts act as an antidote to that estrangement,” Zaki added, “[and] provide you with a very low risk way of entering worlds and lives and minds that are far from what you would normally experience.”\u003c/p>\n\u003cp>One study found that reading literature, but not junk fiction, increases a person’s ability to be empathetic. Though Zaki wondered “does reading make you more empathetic, or does being more empathetic make you want to read more fiction?”\u003c/p>\n\u003cp>People, and some animals, come into the world ready for empathy, because we’re born with what are called mirror neurons. And Zaki believes the arts can stimulate those neurons.\u003c/p>\n\u003cp>“So if you see a painting of someone being whipped,” Zaki said. “Or they’re weeping profusely. Then you take on that state. I’m sure that applies to visual art. I’m absolutely sure it applies to performance art where they’re actually posing expressions and experiencing things in front of you.”\u003c/p>\n\u003cp>Zaki said he had that experience when he and his research team, took in the Pixar film \u003ca href=\"http://www.pixar.com/features_films/Inside-Out\" target=\"_blank\" rel=\"noopener\">“Inside Out.”\u003c/a>\u003c/p>\n\u003cp>The movie gives voice to the turbulent emotional life of a young girl whose parents move to San Francisco so her dad can join a startup.\u003c/p>\n\u003cp>Zaki said he made a connection he didn’t expect, because he and his wife are about to have a daughter.\u003c/p>\n\u003cp>“And I’m thinking about that little girl (in the movie) and her connection to her parents,” Zaki said. “I felt I connected with that at a much deeper level, than I would have before when we didn’t know we were having a kid. ”\u003c/p>\n\u003cp>That’s an easy form of empathy for us, Zaki said. But people can make far greater empathetic leaps.\u003c/p>\n\u003cp>“Empathy is often work,” said Zaki. “It’s an effort that we make to find the commonalities between yourself and someone else.”\u003c/p>\n\u003cp>That’s something University of San Francisco theater professor Christine Young observed when she used to teach in Iowa. She’d assign her students Tony Kushner’s Pulitzer Prize winning play \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America:_A_Gay_Fantasia_on_National_Themes\" target=\"_blank\" rel=\"noopener\">Angels in America\u003c/a>, about the AIDS crisis, a gay Mormon, and many other things.\u003c/p>\n\u003cp>“And the same thing would happen every time,” she said. “Many of the students who had come from a conservative Christian background would initially object to the subject matter.”\u003c/p>\n\u003cp>But Young says, people would come to empathize with the struggles of the character of Louis, who abandons his lover when he learns he has AIDS.\u003c/p>\n\u003cp>“That’s one of the great gifts of that play is it helped a whole generation of people realize that the lives of gay people are just like the lives of heterosexual people. That the loss of a loved one is the same no matter who they are,” Young said.\u003c/p>\n\u003cp>And that sense that we’re all connected in some way is what Stanford’s Jane Shaw hopes to explore in her her empathy class and exhibit.\u003c/p>\n\u003cp>“The world’s problems,” Shaw said, “the world’s wars are because we don’t understand each other. So the more we can understand each other the better. The more we can step into each other’s shoes the better.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Cantor Arts Center show, \u003cem>Empathy\u003c/em>, continues through Jan. 25. Anna Deveare Smith does her residency as Stanford in October.\u003c/p>\n\n",
"blocks": [],
"excerpt": "\"I think of lots of different forms of art as empathy boot camp.\"",
"status": "publish",
"parent": 0,
"modified": 1726788397,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 43,
"wordCount": 1428
},
"headData": {
"title": "Fighting the Empathy Deficit: How the Arts Can Make Us More Compassionate | KQED",
"description": ""I think of lots of different forms of art as empathy boot camp."",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Fighting the Empathy Deficit: How the Arts Can Make Us More Compassionate",
"datePublished": "2015-09-03T15:00:51-07:00",
"dateModified": "2024-09-19T16:26:37-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/10933932/fighting-the-empathy-deficit-how-the-arts-can-make-us-more-compassionate",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://web.stanford.edu/group/religiouslife/cgi-bin/wordpress/about-orl/orl-staff/the-very-rev-dr-jane-shaw/\" target=\"_blank\" rel=\"noopener\">Stanford University’s Jane Shaw \u003c/a>is a kind of empathy activist.\u003c/p>\n\u003cp>“How do you make the leap,” she said a few days ago, “to understand the experience of another person is really what empathy’s about.\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/222258730″&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/222258730″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Shaw, Stanford’s Dean for Religious Life, was showing me around a small-but-choice exhibit called \u003ca href=\"http://museum.stanford.edu/view/exhibition_sched_new.html#Empathy\" target=\"_blank\" rel=\"noopener\">\u003cem>Empathy\u003c/em>, \u003c/a>at Stanford’s \u003ca href=\"http://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Cantor Arts Center.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10933933\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Jane-Shaw-e1441297287793-400x364.jpg\" alt=\"Jane Shaw, Dean for Religious Life at Stanford University\" width=\"400\" height=\"364\" class=\"size-thumbnail wp-image-10933933\">\u003cfigcaption class=\"wp-caption-text\">Jane Shaw, Dean for Religious Life at Stanford University \u003ccite>(Courtesy: Jane Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is a companion piece to a class on empathy Shaw is teaching this fall, and a way for any museum goer to engage with a hot topic these days for religious scholars, neuroscientists, artists and politicians.\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>Everyone from President Barack Obama to social psychologists are reporting a deficit in empathy and or a lack of compassion among college students, and a corresponding rise in narcissism.\u003c/p>\n\u003cp>“We live in a pretty individualistic society,” Shaw said, “It’s all about the selfie… which is me, me, me, right?”\u003c/p>\n\u003cp>But Bay Area residents have a surprising number of ways to refresh their empathy skills through the arts, including Shaw’s exhibit.\u003c/p>\n\u003cp>There’s a pair of Diane Arbus photos: one of a tattooed man and another of female impersonator that Shaw notes raise issues about “the difference between objectifying the strange, and empathizing with the strange.”\u003c/p>\n\u003cp>The key images in the show may be a series of four etchings by Hans Beham, based on Jesus’ parable about the Prodigal Son.\u003c/p>\n\u003cp>The parable describes how the younger of two sons demands his inheritance, wastes it in wild living, then returns home, expecting to be punished. To his and his older brother’s surprise, the father greets the prodigal with open arms.\u003c/p>\n\u003cp>“I think the prodigal son story is important,” Shaw said, “because at different times we can all relate to all of the characters.\u003c/p>\n\u003cp>“Are we the father distraught by the son who’s gone off, and just unbelievably thrilled that the younger son has come home?” Shaw asks. “Or are we the older son who’s been good and dutiful, then when the younger son comes back, he’s the one who gets the fatted calf for him?”\u003c/p>\n\u003cp>The point, Shaw says, is not to judge, but to empathize — to put oneself in someone else’s shoes.\u003c/p>\n\u003cp>That’s an apt metaphor for the actress and playwright \u003ca href=\"https://live.stanford.edu/calendar/October-2015/all/all/all/Theater\" target=\"_blank\" rel=\"noopener\">Anna Deveare Smith\u003c/a>, who’ll be a guest lecturer for Shaw’s class. Smith is known for her documentary theater work about class and race, in which she embodies the words and physical tics of the people she interviews. She often works barefoot so she can better “walk in the words,” she says, “of her subjects.”\u003c/p>\n\u003cp>It’s a sign of the power of art, especially theater, to inspire empathy.\u003c/p>\n\u003cp>In fact Shaw’s class made me think about the preshow welcome I’ve often heard from Bill English, Artistic Director for San Francisco Playhouse.\u003c/p>\n\u003cp>“We like to think of ourselves as our community’s empathy gym,” is how Bill English opened a recent performance. “It’s a place where we come to work out our powers of compassion.\u003c/p>\n\u003cfigure id=\"attachment_10933935\" class=\"wp-caption alignright\" style=\"max-width: 361px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Bill-English-and-Susi-Damilano-e1441303876539.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10933935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Bill-English-and-Susi-Damilano-e1441303876539.png\" alt=\"San Francisco Playhouse Artistic Director Bill English and Executive Director Susi Damilano\" width=\"361\" height=\"216\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Playhouse Artistic Director Bill English and Executive Director Susi Damilano \u003ccite>(Courtesy San Francisco Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We identify with these actors up here. And we feel what they feel, we love what they love, and we hope what they hope for. And it’s our belief we can take that spirit of unity that we build together in the dark, out into the streets, and make our world a better place one play at a time.”\u003c/p>\n\u003cp>A comment that draws both laughs and applause for its heartfelt idealism.\u003c/p>\n\u003cp>The funny thing is when English talks about theater as an empathy gym, he sounds like \u003ca href=\"http://ssnl.stanford.edu/people\" target=\"_blank\" rel=\"noopener\">Jamil Zaki,\u003c/a> a Stanford professor and neuropsychologist doing research on empathy using new tools like brain scans from an MRI.\u003c/p>\n\u003cp>“I think of lots of different forms of art as empathy boot camp,” Zaki said.\u003c/p>\n\u003cp>A few years ago Zaki looked at that \u003ca href=\"http://www.scientificamerican.com/article/what-me-care/\" target=\"_blank\" rel=\"noopener\">research showing that college students are less empathetic today than 30 years ago.\u003c/a>\u003c/p>\n\u003cp>“It’s a lot easier to insult someone in a YouTube comment section when you’re anonymous and they’re anonymous, and you don’t have to see their reaction, than when you’re right in front of them,” Zaki said.\u003c/p>\n\u003cp>“The arts act as an antidote to that estrangement,” Zaki added, “[and] provide you with a very low risk way of entering worlds and lives and minds that are far from what you would normally experience.”\u003c/p>\n\u003cp>One study found that reading literature, but not junk fiction, increases a person’s ability to be empathetic. Though Zaki wondered “does reading make you more empathetic, or does being more empathetic make you want to read more fiction?”\u003c/p>\n\u003cp>People, and some animals, come into the world ready for empathy, because we’re born with what are called mirror neurons. And Zaki believes the arts can stimulate those neurons.\u003c/p>\n\u003cp>“So if you see a painting of someone being whipped,” Zaki said. “Or they’re weeping profusely. Then you take on that state. I’m sure that applies to visual art. I’m absolutely sure it applies to performance art where they’re actually posing expressions and experiencing things in front of you.”\u003c/p>\n\u003cp>Zaki said he had that experience when he and his research team, took in the Pixar film \u003ca href=\"http://www.pixar.com/features_films/Inside-Out\" target=\"_blank\" rel=\"noopener\">“Inside Out.”\u003c/a>\u003c/p>\n\u003cp>The movie gives voice to the turbulent emotional life of a young girl whose parents move to San Francisco so her dad can join a startup.\u003c/p>\n\u003cp>Zaki said he made a connection he didn’t expect, because he and his wife are about to have a daughter.\u003c/p>\n\u003cp>“And I’m thinking about that little girl (in the movie) and her connection to her parents,” Zaki said. “I felt I connected with that at a much deeper level, than I would have before when we didn’t know we were having a kid. ”\u003c/p>\n\u003cp>That’s an easy form of empathy for us, Zaki said. But people can make far greater empathetic leaps.\u003c/p>\n\u003cp>“Empathy is often work,” said Zaki. “It’s an effort that we make to find the commonalities between yourself and someone else.”\u003c/p>\n\u003cp>That’s something University of San Francisco theater professor Christine Young observed when she used to teach in Iowa. She’d assign her students Tony Kushner’s Pulitzer Prize winning play \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America:_A_Gay_Fantasia_on_National_Themes\" target=\"_blank\" rel=\"noopener\">Angels in America\u003c/a>, about the AIDS crisis, a gay Mormon, and many other things.\u003c/p>\n\u003cp>“And the same thing would happen every time,” she said. “Many of the students who had come from a conservative Christian background would initially object to the subject matter.”\u003c/p>\n\u003cp>But Young says, people would come to empathize with the struggles of the character of Louis, who abandons his lover when he learns he has AIDS.\u003c/p>\n\u003cp>“That’s one of the great gifts of that play is it helped a whole generation of people realize that the lives of gay people are just like the lives of heterosexual people. That the loss of a loved one is the same no matter who they are,” Young said.\u003c/p>\n\u003cp>And that sense that we’re all connected in some way is what Stanford’s Jane Shaw hopes to explore in her her empathy class and exhibit.\u003c/p>\n\u003cp>“The world’s problems,” Shaw said, “the world’s wars are because we don’t understand each other. So the more we can understand each other the better. The more we can step into each other’s shoes the better.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Cantor Arts Center show, \u003cem>Empathy\u003c/em>, continues through Jan. 25. Anna Deveare Smith does her residency as Stanford in October.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10933932/fighting-the-empathy-deficit-how-the-arts-can-make-us-more-compassionate",
"authors": [
"32"
],
"categories": [
"arts_235",
"arts_967",
"arts_990",
"arts_70"
],
"tags": [
"arts_596"
],
"featImg": "arts_10933934",
"label": "arts"
},
"arts_10932463": {
"type": "posts",
"id": "arts_10932463",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10932463",
"score": null,
"sort": [
1441292425000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1441292425,
"format": "standard",
"title": "Remembering Architect and Arts Patron David Cunningham (1967–2015)",
"headTitle": "Remembering Architect and Arts Patron David Cunningham (1967–2015) | KQED",
"content": "\u003cp>News of the death of San Francisco-based architect and arts patron David Cunningham spread swiftly on Facebook this week, to the disbelief of many who knew the former owner of \u003ca href=\"http://www.davidcunninghamprojects.com/Site/DCP.html\" target=\"_blank\" rel=\"noopener\">David Cunningham Projects\u003c/a> (DCP), an alternative gallery on Folsom Street. The stalwart arts supporter and former Southern Exposure board member died from cancer on Sunday; he was 48. Modern Edinburgh Film School posted a tribute to him on Facebook, espousing the “energy, intellect and special presence of David Cunningham and his fantastic gallery.”\u003c/p>\n\u003cfigure id=\"attachment_10932657\" class=\"wp-caption alignright\" style=\"max-width: 554px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10932657 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DC2.jpg\" alt=\"A rare picture of Cunningham. (Photo: Alan Bamberger / artbusiness.com)\" width=\"554\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2.jpg 554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2-400x468.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2-513x600.jpg 513w\" sizes=\"(max-width: 554px) 100vw, 554px\">\u003cfigcaption class=\"wp-caption-text\">A rare picture of Cunningham. (Photo: Alan Bamberger / artbusiness.com)\u003c/figcaption>\u003c/figure>\n\u003cp>He did indeed have a special presence: very quiet, extremely generous and deeply committed to artists and the importance of art. His architecture projects will stand as testament to his contributions to public life. The many artists, designers and architects he worked with will continue to feel his influence as an arts champion, here and abroad.\u003c/p>\n\u003cp>I first met Cunningham in 2008 through artist Michael Damm. My curatorial enterprise Invisible Venue produced a site-specific series of Damm’s video projections in West Oakland in association with DCP, which was simultaneously \u003ca href=\"http://www.artbusiness.com/1open/121308.html\" target=\"_blank\" rel=\"noopener\">projecting Damm’s videos onto the street\u003c/a> in San Francisco. Over the years, Cunningham would drop me a supportive note from time to time, whenever my writing generated a lot of commentary and/or controversy, as the case sometimes has been.\u003c/p>\n\u003cp>Last year, as board vice president, he invited me to speak with the Southern Exposure staff and board about the shifting landscape of support for artists in the San Francisco Bay Area. Like many others, I will miss his quiet advocacy and gentle humor.\u003c/p>\n\u003cp>Born in Zambia to Irish parents, he spent much of his early childhood in Africa before returning to Ireland. Cunningham studied architecture at University College of Dublin. He moved to San Francisco in 1993 and worked at the firm Studios Architecture before joining Oculus Architects in 1998. His early projects include the extraordinary Petronas Towers in Kuala Lumpur. More recently his clients include University of California, San Francisco; University of San Francisco, and St. Mary’s College, where he was the lead architect and project designer on the $23.5 million Joseph Alioto Recreation Center, completed earlier this year. His longtime friend and colleague, Hugh Cotter, a principal at Oculus Architects, said recently, “He never introduced the precious or pastiche, but just saw, with an artist’s eye, what others might miss.”\u003c/p>\n\u003cfigure id=\"attachment_10932646\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10932646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/KuriousOrange640.jpg\" alt=\"'I Am Kurious Orange' at David Cunningham Projects, 2009. (Photo: David Cunningham Projects)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/KuriousOrange640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/KuriousOrange640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘I Am Kurious Orange’ at David Cunningham Projects, 2009. (Photo: David Cunningham Projects)\u003c/figcaption>\u003c/figure>\n\u003cp>Cunningham established DCP out of his architecture studio in 2007, presenting a wide range of challenging, provocative and ambitious projects until 2010. There he showed international artists including Austin McQuinn, Bernadette Cotter, Pawel Kruk and Richard T. Walker, and many others. Artist Anne Colvin organized \u003cem>I am Kurious Orange\u003c/em> at DCP in 2009; author Kevin Killian described the show as “\u003ca href=\"http://openspace.sfmoma.org/2009/05/orange-skies/\" target=\"_blank\" rel=\"noopener\">a theatrical extravaganza\u003c/a>” on SFMOMA’s Open Space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Colvin notes Cunningham’s extraordinary generosity. He directly supported artists out-of-pocket and funded the production of challenging work, simply because he believed in it. “His interests,” Colvin says, “weren’t dictated by trends, but guided very much by his own passions.”\u003c/p>\n\u003cp>This is evident not only in the scope of the work that he presented, but in the scope of community he created. Case in point: A DCP 2008 exhibition featured the work Marshall Elementary School students, grades K – 5, focused on their visions for a better world.\u003c/p>\n\u003cfigure id=\"attachment_10932647\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10932647\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DCPInstall640.jpg\" alt=\"Installation view of 'Chris Ashley & Alan Disparte,' David Cunningham Projects, 2008. (Photo: David Cunningham Projects)\" width=\"640\" height=\"474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DCPInstall640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DCPInstall640-400x296.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Chris Ashley & Alan Disparte,’ David Cunningham Projects, 2008. (Photo: David Cunningham Projects)\u003c/figcaption>\u003c/figure>\n\u003cp>Echoing Colvin’s stories of his commitment, Walker, who worked for the gallery from the second show until it closed, recalled when Cunningham hired a structural engineer to reinforce the gallery floors in order to present Mariele Neudecker’s \u003cem>Tanks\u003c/em>. “The gallery,” Walker says, “became a place where something was genuinely \u003cem>happening;\u003c/em> things were unpredictable in the best possible way and although David was at the center of it all he would never accept any credit, as for him it was always about the artists.”\u003c/p>\n\u003cp>After DCP closed, following an untenable rent increase that seemed to initiate an avalanche of change in the city, Southern Exposure’s then-executive director Courtney Fink invited Cunningham to jury the annual Alternative Exposure grant awards. Shortly thereafter he joined the board and became, in her words, “indispensible from the moment he arrived.” Cunningham also continued to organize shows, including the 2011 group exhibition \u003cem>Enter Slowly\u003c/em> featuring seven international artists at \u003ca href=\"http://sfartenthusiast.com/2011/01/enter-slowly-at-the-lab/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>, among other independent projects.\u003c/p>\n\u003cp>Cunningham possessed a unique vision for the possibilities in a city where rising costs have increasingly narrowed the field for risk and experimentation, and a genuine spirit that will be forever associated with a particularly vital and necessary moment in the San Francisco art scene. For any of us lucky enough to have experienced both, he will be deeply missed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>David Cunningham is survived by his parents Steve and Margôt Cunningham of Galway, Ireland, his siblings and their extended families, as well as a vast international network of friends from the Bay Area and beyond. He will be laid to rest in a private ceremony this week in Ireland. A \u003ca href=\"https://www.soex.org/news/2015/08/31/remembering-david-cunningham\" target=\"_blank\" rel=\"noopener\">celebration of his life and contributions\u003c/a> will take place later this fall at Southern Exposure. In lieu of flowers, his family has requested donations in his memory to \u003ca href=\"https://www.galwayhospice.ie/\" target=\"_blank\" rel=\"noopener\">Galway Hospice\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 942,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705046434,
"excerpt": "The stalwart arts supporter and former Southern Exposure board member died on Sunday; he was 48.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The stalwart arts supporter and former Southern Exposure board member died on Sunday; he was 48.",
"title": "Remembering Architect and Arts Patron David Cunningham (1967–2015) | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Remembering Architect and Arts Patron David Cunningham (1967–2015)",
"datePublished": "2015-09-03T08:00:25-07:00",
"dateModified": "2024-01-12T00:00:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "remembering-architect-and-arts-patron-david-cunningham-1967-2015-2",
"status": "publish",
"sticky": false,
"path": "/arts/10932463/remembering-architect-and-arts-patron-david-cunningham-1967-2015-2",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>News of the death of San Francisco-based architect and arts patron David Cunningham spread swiftly on Facebook this week, to the disbelief of many who knew the former owner of \u003ca href=\"http://www.davidcunninghamprojects.com/Site/DCP.html\" target=\"_blank\" rel=\"noopener\">David Cunningham Projects\u003c/a> (DCP), an alternative gallery on Folsom Street. The stalwart arts supporter and former Southern Exposure board member died from cancer on Sunday; he was 48. Modern Edinburgh Film School posted a tribute to him on Facebook, espousing the “energy, intellect and special presence of David Cunningham and his fantastic gallery.”\u003c/p>\n\u003cfigure id=\"attachment_10932657\" class=\"wp-caption alignright\" style=\"max-width: 554px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10932657 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DC2.jpg\" alt=\"A rare picture of Cunningham. (Photo: Alan Bamberger / artbusiness.com)\" width=\"554\" height=\"648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2.jpg 554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2-400x468.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DC2-513x600.jpg 513w\" sizes=\"(max-width: 554px) 100vw, 554px\">\u003cfigcaption class=\"wp-caption-text\">A rare picture of Cunningham. (Photo: Alan Bamberger / artbusiness.com)\u003c/figcaption>\u003c/figure>\n\u003cp>He did indeed have a special presence: very quiet, extremely generous and deeply committed to artists and the importance of art. His architecture projects will stand as testament to his contributions to public life. The many artists, designers and architects he worked with will continue to feel his influence as an arts champion, here and abroad.\u003c/p>\n\u003cp>I first met Cunningham in 2008 through artist Michael Damm. My curatorial enterprise Invisible Venue produced a site-specific series of Damm’s video projections in West Oakland in association with DCP, which was simultaneously \u003ca href=\"http://www.artbusiness.com/1open/121308.html\" target=\"_blank\" rel=\"noopener\">projecting Damm’s videos onto the street\u003c/a> in San Francisco. Over the years, Cunningham would drop me a supportive note from time to time, whenever my writing generated a lot of commentary and/or controversy, as the case sometimes has been.\u003c/p>\n\u003cp>Last year, as board vice president, he invited me to speak with the Southern Exposure staff and board about the shifting landscape of support for artists in the San Francisco Bay Area. Like many others, I will miss his quiet advocacy and gentle humor.\u003c/p>\n\u003cp>Born in Zambia to Irish parents, he spent much of his early childhood in Africa before returning to Ireland. Cunningham studied architecture at University College of Dublin. He moved to San Francisco in 1993 and worked at the firm Studios Architecture before joining Oculus Architects in 1998. His early projects include the extraordinary Petronas Towers in Kuala Lumpur. More recently his clients include University of California, San Francisco; University of San Francisco, and St. Mary’s College, where he was the lead architect and project designer on the $23.5 million Joseph Alioto Recreation Center, completed earlier this year. His longtime friend and colleague, Hugh Cotter, a principal at Oculus Architects, said recently, “He never introduced the precious or pastiche, but just saw, with an artist’s eye, what others might miss.”\u003c/p>\n\u003cfigure id=\"attachment_10932646\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10932646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/KuriousOrange640.jpg\" alt=\"'I Am Kurious Orange' at David Cunningham Projects, 2009. (Photo: David Cunningham Projects)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/KuriousOrange640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/KuriousOrange640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘I Am Kurious Orange’ at David Cunningham Projects, 2009. (Photo: David Cunningham Projects)\u003c/figcaption>\u003c/figure>\n\u003cp>Cunningham established DCP out of his architecture studio in 2007, presenting a wide range of challenging, provocative and ambitious projects until 2010. There he showed international artists including Austin McQuinn, Bernadette Cotter, Pawel Kruk and Richard T. Walker, and many others. Artist Anne Colvin organized \u003cem>I am Kurious Orange\u003c/em> at DCP in 2009; author Kevin Killian described the show as “\u003ca href=\"http://openspace.sfmoma.org/2009/05/orange-skies/\" target=\"_blank\" rel=\"noopener\">a theatrical extravaganza\u003c/a>” on SFMOMA’s Open Space.\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>Colvin notes Cunningham’s extraordinary generosity. He directly supported artists out-of-pocket and funded the production of challenging work, simply because he believed in it. “His interests,” Colvin says, “weren’t dictated by trends, but guided very much by his own passions.”\u003c/p>\n\u003cp>This is evident not only in the scope of the work that he presented, but in the scope of community he created. Case in point: A DCP 2008 exhibition featured the work Marshall Elementary School students, grades K – 5, focused on their visions for a better world.\u003c/p>\n\u003cfigure id=\"attachment_10932647\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10932647\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/DCPInstall640.jpg\" alt=\"Installation view of 'Chris Ashley & Alan Disparte,' David Cunningham Projects, 2008. (Photo: David Cunningham Projects)\" width=\"640\" height=\"474\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DCPInstall640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/DCPInstall640-400x296.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Chris Ashley & Alan Disparte,’ David Cunningham Projects, 2008. (Photo: David Cunningham Projects)\u003c/figcaption>\u003c/figure>\n\u003cp>Echoing Colvin’s stories of his commitment, Walker, who worked for the gallery from the second show until it closed, recalled when Cunningham hired a structural engineer to reinforce the gallery floors in order to present Mariele Neudecker’s \u003cem>Tanks\u003c/em>. “The gallery,” Walker says, “became a place where something was genuinely \u003cem>happening;\u003c/em> things were unpredictable in the best possible way and although David was at the center of it all he would never accept any credit, as for him it was always about the artists.”\u003c/p>\n\u003cp>After DCP closed, following an untenable rent increase that seemed to initiate an avalanche of change in the city, Southern Exposure’s then-executive director Courtney Fink invited Cunningham to jury the annual Alternative Exposure grant awards. Shortly thereafter he joined the board and became, in her words, “indispensible from the moment he arrived.” Cunningham also continued to organize shows, including the 2011 group exhibition \u003cem>Enter Slowly\u003c/em> featuring seven international artists at \u003ca href=\"http://sfartenthusiast.com/2011/01/enter-slowly-at-the-lab/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>, among other independent projects.\u003c/p>\n\u003cp>Cunningham possessed a unique vision for the possibilities in a city where rising costs have increasingly narrowed the field for risk and experimentation, and a genuine spirit that will be forever associated with a particularly vital and necessary moment in the San Francisco art scene. For any of us lucky enough to have experienced both, he will be deeply missed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>David Cunningham is survived by his parents Steve and Margôt Cunningham of Galway, Ireland, his siblings and their extended families, as well as a vast international network of friends from the Bay Area and beyond. He will be laid to rest in a private ceremony this week in Ireland. A \u003ca href=\"https://www.soex.org/news/2015/08/31/remembering-david-cunningham\" target=\"_blank\" rel=\"noopener\">celebration of his life and contributions\u003c/a> will take place later this fall at Southern Exposure. In lieu of flowers, his family has requested donations in his memory to \u003ca href=\"https://www.galwayhospice.ie/\" target=\"_blank\" rel=\"noopener\">Galway Hospice\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10932463/remembering-architect-and-arts-patron-david-cunningham-1967-2015-2",
"authors": [
"58"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_596",
"arts_1091"
],
"featImg": "arts_10932653",
"label": "arts"
},
"arts_10933772": {
"type": "posts",
"id": "arts_10933772",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10933772",
"score": null,
"sort": [
1441260019000
]
},
"guestAuthors": [],
"slug": "introducing-kqeds-so-well-spoken-lets-improve-how-we-talk-about-race",
"title": "Introducing KQED’s “So Well Spoken”: Let’s Improve How We Talk About Race",
"publishDate": 1441260019,
"format": "standard",
"headTitle": "Introducing KQED’s “So Well Spoken”: Let’s Improve How We Talk About Race | KQED",
"labelTerm": {
"site": "news"
},
"content": "\u003cfigure>\u003cfigcaption>Members of Sistahs on the Reading Edge after being ejected from Napa Valley Wine Train. \u003ccite>(Lisa Renee Johnson via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It seems the whole nation is having some deep conversations about race and culture right now — conversations that sometimes go very badly. It’s easy to end up with your foot \u003ca href=\"http://ww2.kqed.org/news/kqed-so-well-spoken\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/kqed-so-well-spoken\" target=\"_blank\" title=\"Introducing KQED’s “So Well Spoken”: Let’s Improve How We Talk About Race\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "\u003cfigure>\u003cbr>\u003cfigcaption>Members of Sistahs on the Reading Edge after being ejected from Napa Valley Wine Train. \u003ccite>(Lisa Renee Johnson via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\u003cp>It seems the whole nation is having some deep conversations about race and culture right now — conversations that sometimes go very badly. It's easy to end up with your foot \u003ca href=\"http://ww2.kqed.org/news/kqed-so-well-spoken\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
"status": "publish",
"parent": 0,
"modified": 1726788399,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 4,
"wordCount": 61
},
"headData": {
"title": "Introducing KQED’s “So Well Spoken”: Let’s Improve How We Talk About Race | KQED",
"description": "Members of Sistahs on the Reading Edge after being ejected from Napa Valley Wine Train. (Lisa Renee Johnson via Facebook)It seems the whole nation is having some deep conversations about race and culture right now — conversations that sometimes go very badly. It's easy to end up with your foot ...read more",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Introducing KQED’s “So Well Spoken”: Let’s Improve How We Talk About Race",
"datePublished": "2015-09-02T23:00:19-07:00",
"dateModified": "2024-09-19T16:26:39-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"redirect": {
"type": "external",
"url": "http://ww2.kqed.org/news/kqed-so-well-spoken"
},
"rssmiSourceLink": "http://ww2.kqed.org/news/kqed-so-well-spoken",
"sticky": false,
"path": "/arts/10933772/introducing-kqeds-so-well-spoken-lets-improve-how-we-talk-about-race",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure>\u003cfigcaption>Members of Sistahs on the Reading Edge after being ejected from Napa Valley Wine Train. \u003ccite>(Lisa Renee Johnson via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It seems the whole nation is having some deep conversations about race and culture right now — conversations that sometimes go very badly. It’s easy to end up with your foot \u003ca href=\"http://ww2.kqed.org/news/kqed-so-well-spoken\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/kqed-so-well-spoken\" target=\"_blank\" title=\"Introducing KQED’s “So Well Spoken”: Let’s Improve How We Talk About Race\" rel=\"noopener\">Arts News\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "http://ww2.kqed.org/news/kqed-so-well-spoken",
"authors": [
"236"
],
"categories": [
"arts_235"
],
"featImg": "arts_10933773",
"label": "arts"
},
"news_10659934": {
"type": "posts",
"id": "news_10659934",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10659934",
"score": null,
"sort": [
1442016020000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 72
},
"blocks": [],
"publishDate": 1442016020,
"format": "audio",
"disqusTitle": "Love in the Digital Age: Liam & Porn",
"title": "Love in the Digital Age: Liam & Porn",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>This is not a story about whether porn is good or bad. This is not a story about whether porn addiction \u003cem>should\u003c/em> be a clinical diagnosis. This is a story about Liam (and we’re not using his real name because of the sensitive nature of the topic).\u003c/p>\n\u003cp>For Liam, porn became a compulsive, damaging habit around the time that high-speed Internet came around -- which is to say, his entire adult life, starting when he was 20. He’s 38 now, and it’s been a little over a year since he decided to quit. We asked him to go back in time for us and describe what his habit was like.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg class=\"alignleft\" src=\"http://u.s.kqed.net/2015/09/14/LITDApodcastlogo.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/love-in-the-digital-age/id1037051180?mt=2\">Subscribe in iTunes\u003c/a>\u003c/h3>\n\u003cp>Don't miss an episode of 'Love in the Digital Age'\u003c/p>\n\u003c/div>\n\u003cp>\u003cstrong>The Bubble\u003c/strong>\u003c/p>\n\u003cp>\"It's like a bubble,\" he recalls. \"It's like an exciting, adrenaline-filled state of mind where you're not thinking about, 'OK, I have these bills due,' or 'I have to go meet my boss tomorrow and I'm nervous,' or 'She wants to talk about the relationship and I don't want to!' \"\u003c/p>\n\u003cp>At times, Liam would stay in the bubble for five, 10 hours at a time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The variety of porn today is mind-boggling and unprecedented. Liam spent his hours scanning hundreds of images linking to videos, scrolling until he found just the right one for that moment. \"OK, there’s the girl I want to look at.\" Then he'd scroll some more.\u003c/p>\n\u003cp>Or perhaps he'd meet or pass a woman during the day that sparked his curiosity. “OK, I want to see what it would look like if that person was having sex.\" He'd go home and search for a video featuring somebody who looked like that woman.\u003c/p>\n\u003cp>[contextly_sidebar id=\"omWBriHHbVruyoAMyZ6MkR4EfKWEQkXW\"]\u003c/p>\n\u003cp>Liam's level of engagement with porn may have been more compulsive than average but it's hard to know, because many men are uncomfortable going public with their porn use.\u003c/p>\n\u003cp>\"There's an extra-special element of shame to this problem,\" says Liam, adding that people will \"deny it up and down the street, like I used to.\"\u003c/p>\n\u003cp>Pornography inspires powerful emotional responses, from those who see it as immoral, to those who feel it is \u003ca href=\"https://www.psychologytoday.com/blog/women-who-stray/201307/your-brain-porn-its-not-addictive\" target=\"_blank\" rel=\"noopener noreferrer\">demonized \u003c/a>by parents and the media, to those who would simply \u003ca href=\"http://www.theatlantic.com/health/archive/2013/06/was-i-actually-addicted-to-internet-pornography/276619/\" target=\"_blank\" rel=\"noopener noreferrer\">love a scientific explanation\u003c/a> for what they're experiencing. Sex, after all, is universal in a way few things are, other than food and sleep.\u003c/p>\n\u003cp>In this TED Talk, one of Liam's favorite public discussions about porn, retired science teacher Gary Wilson notes many researchers say they can't find a control group of men who have not been exposed to some pornography at some point in their lives.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=wSF82AwSDiU]\u003c/p>\n\u003cp>Liam, who works in construction and lives in Los Angeles, is no awkward loner using porn as a stand-in for human contact. He's the son of a therapist, raised in a \"liberal\" home in Santa Cruz. He's articulate and charming, and a veteran of several relationships, one of which almost led to marriage. But from early on, those girlfriends were competing with porn for primacy in Liam's mind.\u003c/p>\n\u003cp>\"Excitement and shame mixed together makes [porn] this erotic thing, whereas just being with someone’s kinda boring,\" Liam says.\u003c/p>\n\u003cp>That's not to say Liam wasn't bothered by what he called his emotional numbness. \"It’s almost like when I’m looking at pornography, I’m burning off the little receptors that are my feelings and enable me to care for somebody. You know, they get fried.\"\u003c/p>\n\u003caside class=\"pullquote alignright\">'Of course, I had these fantasies of ... oh, I want to do X, Y and Z once I saw that in a pornographic movie. But once I would find someone who was willing to do whatever I wanted, I’d be bored, like, right away.'\u003c/aside>\n\u003cp>Over the years, friends suggested to Liam he consider getting help, but he brushed them off. Ironically, he was open -- even proud -- of his involvement with \u003ca href=\"http://www.aa.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Alcoholics Anonymous\u003c/a>. He's been in AA for 16 years now, thriving on the structured approach to recovery and the supportive community.\u003c/p>\n\u003cp>Then, about a year and a half ago, Liam paid for sex. \"The first time I did, I thought 'This is a great solution.' You know what I mean? 'Cause I can pay someone to be nice to me, and have sex with me, and it worked great.\" But subsequent dates were less enjoyable. \"I can’t describe other than, like, wow: This is the loneliest I’ve ever felt.\" By the fourth time, he says, \"I couldn't even have sex.\"\u003c/p>\n\u003cp>After that, Liam went to a men’s-only AA meeting and dropped an anonymous note into a basket asking if anybody else had trouble with porn and prostitution. Despite a lot of laughter and hooting when the question was read aloud, one man rose and invited whomever had written the note to reach out after the meeting. That man became Liam's sponsor in \u003ca href=\"https://saa-recovery.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sex Addicts Anonymous\u003c/a>.\u003c/p>\n\u003caside class=\"alignleft\">Hear from one of the foremost thinkers on the subject of porn addiction: \u003cstrong>Alexandra Katehakis\u003c/strong>, founder and clinical director of the Center for Healthy Sex in Los Angeles:\u003cbr>\n[soundcloud url=\"https://api.soundcloud.com/tracks/221349566\" 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/aside>\n\u003cp>Every night now, Liam reports by phone. Has he exercised that day? Has he done something fun like go to a movie? Or something shameful? Is he resentful about anything? What is he grateful for? One thing is for sure: Liam is grateful for his SAA sponsor.\u003c/p>\n\u003cp>\"I have one person who’s willing to spend a lot of time talking to me on the phone,\" he says. \"I’ve been doing that for over a year and he never, ever makes it seem like it’s a burden.\"\u003c/p>\n\u003cp>In recent years, there have been a number of movies made about online porn addiction. For Liam, the best Hollywood treatment of the subject that doesn't glamorize it (like \"\u003ca href=\"http://www.sho.com/sho/californication/home\" target=\"_blank\" rel=\"noopener noreferrer\">Californication\u003c/a>\") is \"\u003ca href=\"http://thanksforsharingmovie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thanks for Sharing\u003c/a>,\" starring Mark Ruffalo and Gwyneth Paltrow. “I’ve never seen anything that more accurately described how it is to be a sex addict,” Liam says.\u003c/p>\n\u003cp>The movie drops into the life of the main character, Adam, when he is in recovery and considers whether he's ready to be in a relationship.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=CR_OkBBzdew&w=560&h=315]\u003c/p>\n\u003cp>“For me,\" says Liam, \"the only problem is when he goes dark. He swings out of it really fast in the movie. Guys that I see do that in real life, it takes them a long time to recover from those relapses. And they lose their job. And she’s gone forever. All these really terrible consequences. Whereas [in the movie], he just, like, brushes his shoulder off. 'I’m back!'”\u003c/p>\n\u003cp>Liam says he doesn't have stories as terrible as the ones he's heard in SAA meetings. He also doesn't have a core reason or experience he can point to that might explain why pornography became a compulsive habit for him. He's happy to be dating now without the background presence and pressure that pornography put on his dating life.\u003c/p>\n\u003cp>\"It's a lot more pleasant, and friendly,\" he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This podcast features music by Van-G (\"Enter Sandman\" remix) and Dave Porter (\"Negra Arroyo Lane\" from \"Breaking Bad\").\u003c/em>\u003c/p>\n\n",
"disqusIdentifier": "10659934 http://ww2.kqed.org/news/?p=10659934",
"disqusUrl": "https://ww2.kqed.org/news/2015/09/11/love-in-the-digital-age-liam-porn/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1292,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 32
},
"modified": 1616446698,
"excerpt": "'It’s almost like when I’m looking at pornography, I’m burning off the little receptors that are my feelings.'",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'It’s almost like when I’m looking at pornography, I’m burning off the little receptors that are my feelings.'",
"title": "Love in the Digital Age: Liam & Porn | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Love in the Digital Age: Liam & Porn",
"datePublished": "2015-09-11T17:00:20-07:00",
"dateModified": "2021-03-22T13:58:18-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"guestAuthors": [],
"slug": "love-in-the-digital-age-liam-porn",
"status": "publish",
"customPermalink": "2015/09/02/love-in-the-digital-age-liam-porn/",
"templateType": "standard",
"audioUrl": "https://www.kqed.org/.stream/mp3splice/radio/tcr/2015/09/LDALiamPorn.mp3",
"featuredImageType": "standard",
"audioTrackLength": 755,
"path": "/news/10659934/love-in-the-digital-age-liam-porn",
"audioDuration": 463000,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This is not a story about whether porn is good or bad. This is not a story about whether porn addiction \u003cem>should\u003c/em> be a clinical diagnosis. This is a story about Liam (and we’re not using his real name because of the sensitive nature of the topic).\u003c/p>\n\u003cp>For Liam, porn became a compulsive, damaging habit around the time that high-speed Internet came around -- which is to say, his entire adult life, starting when he was 20. He’s 38 now, and it’s been a little over a year since he decided to quit. We asked him to go back in time for us and describe what his habit was like.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg class=\"alignleft\" src=\"http://u.s.kqed.net/2015/09/14/LITDApodcastlogo.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/love-in-the-digital-age/id1037051180?mt=2\">Subscribe in iTunes\u003c/a>\u003c/h3>\n\u003cp>Don't miss an episode of 'Love in the Digital Age'\u003c/p>\n\u003c/div>\n\u003cp>\u003cstrong>The Bubble\u003c/strong>\u003c/p>\n\u003cp>\"It's like a bubble,\" he recalls. \"It's like an exciting, adrenaline-filled state of mind where you're not thinking about, 'OK, I have these bills due,' or 'I have to go meet my boss tomorrow and I'm nervous,' or 'She wants to talk about the relationship and I don't want to!' \"\u003c/p>\n\u003cp>At times, Liam would stay in the bubble for five, 10 hours at a time.\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 variety of porn today is mind-boggling and unprecedented. Liam spent his hours scanning hundreds of images linking to videos, scrolling until he found just the right one for that moment. \"OK, there’s the girl I want to look at.\" Then he'd scroll some more.\u003c/p>\n\u003cp>Or perhaps he'd meet or pass a woman during the day that sparked his curiosity. “OK, I want to see what it would look like if that person was having sex.\" He'd go home and search for a video featuring somebody who looked like that woman.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Liam's level of engagement with porn may have been more compulsive than average but it's hard to know, because many men are uncomfortable going public with their porn use.\u003c/p>\n\u003cp>\"There's an extra-special element of shame to this problem,\" says Liam, adding that people will \"deny it up and down the street, like I used to.\"\u003c/p>\n\u003cp>Pornography inspires powerful emotional responses, from those who see it as immoral, to those who feel it is \u003ca href=\"https://www.psychologytoday.com/blog/women-who-stray/201307/your-brain-porn-its-not-addictive\" target=\"_blank\" rel=\"noopener noreferrer\">demonized \u003c/a>by parents and the media, to those who would simply \u003ca href=\"http://www.theatlantic.com/health/archive/2013/06/was-i-actually-addicted-to-internet-pornography/276619/\" target=\"_blank\" rel=\"noopener noreferrer\">love a scientific explanation\u003c/a> for what they're experiencing. Sex, after all, is universal in a way few things are, other than food and sleep.\u003c/p>\n\u003cp>In this TED Talk, one of Liam's favorite public discussions about porn, retired science teacher Gary Wilson notes many researchers say they can't find a control group of men who have not been exposed to some pornography at some point in their lives.\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/wSF82AwSDiU'\n title='//www.youtube.com/embed/wSF82AwSDiU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Liam, who works in construction and lives in Los Angeles, is no awkward loner using porn as a stand-in for human contact. He's the son of a therapist, raised in a \"liberal\" home in Santa Cruz. He's articulate and charming, and a veteran of several relationships, one of which almost led to marriage. But from early on, those girlfriends were competing with porn for primacy in Liam's mind.\u003c/p>\n\u003cp>\"Excitement and shame mixed together makes [porn] this erotic thing, whereas just being with someone’s kinda boring,\" Liam says.\u003c/p>\n\u003cp>That's not to say Liam wasn't bothered by what he called his emotional numbness. \"It’s almost like when I’m looking at pornography, I’m burning off the little receptors that are my feelings and enable me to care for somebody. You know, they get fried.\"\u003c/p>\n\u003caside class=\"pullquote alignright\">'Of course, I had these fantasies of ... oh, I want to do X, Y and Z once I saw that in a pornographic movie. But once I would find someone who was willing to do whatever I wanted, I’d be bored, like, right away.'\u003c/aside>\n\u003cp>Over the years, friends suggested to Liam he consider getting help, but he brushed them off. Ironically, he was open -- even proud -- of his involvement with \u003ca href=\"http://www.aa.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Alcoholics Anonymous\u003c/a>. He's been in AA for 16 years now, thriving on the structured approach to recovery and the supportive community.\u003c/p>\n\u003cp>Then, about a year and a half ago, Liam paid for sex. \"The first time I did, I thought 'This is a great solution.' You know what I mean? 'Cause I can pay someone to be nice to me, and have sex with me, and it worked great.\" But subsequent dates were less enjoyable. \"I can’t describe other than, like, wow: This is the loneliest I’ve ever felt.\" By the fourth time, he says, \"I couldn't even have sex.\"\u003c/p>\n\u003cp>After that, Liam went to a men’s-only AA meeting and dropped an anonymous note into a basket asking if anybody else had trouble with porn and prostitution. Despite a lot of laughter and hooting when the question was read aloud, one man rose and invited whomever had written the note to reach out after the meeting. That man became Liam's sponsor in \u003ca href=\"https://saa-recovery.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sex Addicts Anonymous\u003c/a>.\u003c/p>\n\u003caside class=\"alignleft\">Hear from one of the foremost thinkers on the subject of porn addiction: \u003cstrong>Alexandra Katehakis\u003c/strong>, founder and clinical director of the Center for Healthy Sex in Los Angeles:\u003cbr>\n\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/221349566&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/221349566'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/aside>\n\u003cp>Every night now, Liam reports by phone. Has he exercised that day? Has he done something fun like go to a movie? Or something shameful? Is he resentful about anything? What is he grateful for? One thing is for sure: Liam is grateful for his SAA sponsor.\u003c/p>\n\u003cp>\"I have one person who’s willing to spend a lot of time talking to me on the phone,\" he says. \"I’ve been doing that for over a year and he never, ever makes it seem like it’s a burden.\"\u003c/p>\n\u003cp>In recent years, there have been a number of movies made about online porn addiction. For Liam, the best Hollywood treatment of the subject that doesn't glamorize it (like \"\u003ca href=\"http://www.sho.com/sho/californication/home\" target=\"_blank\" rel=\"noopener noreferrer\">Californication\u003c/a>\") is \"\u003ca href=\"http://thanksforsharingmovie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thanks for Sharing\u003c/a>,\" starring Mark Ruffalo and Gwyneth Paltrow. “I’ve never seen anything that more accurately described how it is to be a sex addict,” Liam says.\u003c/p>\n\u003cp>The movie drops into the life of the main character, Adam, when he is in recovery and considers whether he's ready to be in a relationship.\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/CR_OkBBzdew'\n title='//www.youtube.com/embed/CR_OkBBzdew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“For me,\" says Liam, \"the only problem is when he goes dark. He swings out of it really fast in the movie. Guys that I see do that in real life, it takes them a long time to recover from those relapses. And they lose their job. And she’s gone forever. All these really terrible consequences. Whereas [in the movie], he just, like, brushes his shoulder off. 'I’m back!'”\u003c/p>\n\u003cp>Liam says he doesn't have stories as terrible as the ones he's heard in SAA meetings. He also doesn't have a core reason or experience he can point to that might explain why pornography became a compulsive habit for him. He's happy to be dating now without the background presence and pressure that pornography put on his dating life.\u003c/p>\n\u003cp>\"It's a lot more pleasant, and friendly,\" he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This podcast features music by Van-G (\"Enter Sandman\" remix) and Dave Porter (\"Negra Arroyo Lane\" from \"Breaking Bad\").\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10659934/love-in-the-digital-age-liam-porn",
"authors": [
"251"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_457",
"news_248"
],
"tags": [
"news_29274",
"news_3136",
"news_17286"
],
"featImg": "news_10659942",
"label": "news_72"
},
"news_10647076": {
"type": "posts",
"id": "news_10647076",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10647076",
"score": null,
"sort": [
1441244317000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 72
},
"blocks": [],
"publishDate": 1441244317,
"format": "audio",
"disqusTitle": "Love in the Digital Age: Jorge & Magda",
"title": "Love in the Digital Age: Jorge & Magda",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Imagine you can’t be near the person you love. It could be a long-distance relationship or a military deployment. Jorge Arreola and his wife, Maria Magdalena Ortega Delgado, are three years into a 10-year separation. Magda -- everyone calls her Magda -- overstayed a tourist visa, and U.S. immigration law requires her to stay out of the country for a decade before she can apply to return.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cimg class=\"alignleft\" src=\"http://u.s.kqed.net/2015/09/14/LITDApodcastlogo.jpg\">\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/love-in-the-digital-age/id1037051180?mt=2\">Subscribe in iTunes\u003c/a>\u003c/h3>\n\u003cp>Don't miss an episode of 'Love in the Digital Age'\u003c/p>\n\u003c/div>\n\u003cp>Jorge is a U.S. citizen, who lives in San Jose and works as an equipment engineer at \u003ca href=\"http://amphenol-sensors.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amphenol Sensors\u003c/a> in Fremont. He tries to present a brave face, but he grieves.\u003c/p>\n\u003caside class=\"pullquote alignright\">'Half of myself is over there with her, and half of herself is over here with me.'\u003ccite> Jorge Arreola \u003c/cite>\u003c/aside>\n\u003cp>Sitting in his home office, surrounded by books and photos of Magda, he says, \"I try to keep myself busy. That way, we don’t think about this situation, but it’s hard. You can get to a depression, by just thinking over and over and over, about the same thing.”\u003c/p>\n\u003cp>Jorge and Magda live much of their marriage in a third place they have created online, using their phone, Facebook Messenger and FaceTime. When I visited him, we connected with Magda on FaceTime so we could all talk together.\u003c/p>\n\u003cp>Magda, who is 44, went back to a village called \u003ca href=\"https://www.google.com/maps/place/Margaritas,+Jal.,+Mexico/@20.4543837,-102.4739238,9z/data=!4m2!3m1!1s0x842ec879bc58e2d1:0x647cb0a4b9a7cef4\">Margaritas\u003c/a>, population 3,000, about 80 miles east of Guadalajara . She grew up there, and she still has relatives there.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jorge, 47, does come to visit, every two or three months. Magda often meets him in Tijuana, where Jorge was born, or he flies to Guadalajara, a 3½- to four-hour journey from San Jose.\u003c/p>\n\u003cp>\u003cstrong>How Magda Got in Trouble With Immigration Authorities\u003c/strong>\u003c/p>\n\u003cp>Magda's father immigrated to the United States legally from Mexico in 1992. Over the years, she visited periodically. When Magda was around 20, she visited and overstayed her tourist visa. Then she left the U.S. for Mexico and returned “without inspection,” which means what you think it means: She crossed the border illegally.\u003c/p>\n\u003cp>[contextly_sidebar id=\"EDO6NohJ1kzPsKQ6PSmwGxVSpn71Ednz\"]\u003cbr>\nDespite all that, Magda expected to gain papers under her family’s application for green cards, which they eventually acquired. What Magda didn’t realize was that her cross-border travel put her in a precarious situation following \u003ca href=\"http://www.nolo.com/legal-encyclopedia/free-books/fiance-marriage-visa-book/chapter2-4.html\">a 1996 change in immigration law\u003c/a>, designed to penalize people who spent time in the U.S. illegally.\u003c/p>\n\u003cp>She unwittingly further complicated her status with the U.S. government when she married Jorge in 1994\u003cstrong>,\u003c/strong> after meeting him at a church in San Jose. She was no longer her father's child in the eyes of immigration authorities, and no longer qualified to be included in her father's immigration package.\u003c/p>\n\u003cfigure id=\"attachment_10648551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16386_Jorge_Magda_wedding-qut.jpg\">\u003cimg class=\"wp-image-10648551 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16386_Jorge_Magda_wedding-qut-800x538.jpg\" alt=\"Jorge and Magda's wedding, 21 years ago.\" width=\"800\" height=\"538\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16386_Jorge_Magda_wedding-qut-800x538.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16386_Jorge_Magda_wedding-qut-400x269.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16386_Jorge_Magda_wedding-qut.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jorge and Magda's wedding, 21 years ago.\u003c/figcaption>\u003c/figure>\n\u003cp>Given that Jorge has been a U.S. citizen since 2008, Jorge and Magda figured they could adjust her immigration status. But after years of attempting to do just that, Magda lost her appeal. Here’s an excerpt from the 2011 Board of Immigration Appeals decision against her:\u003c/p>\n\u003cp>\u003cem>“The respondent is ineligible for a grant of adjustment of status. … The Immigration Judge additionally concluded that the respondent did not satisfy the 10-year continuous physical presence requirement for cancellation of removal.”\u003c/em>\u003c/p>\n\u003cp>This spelled big trouble for the couple. Magda would have to leave the U.S. for 10 years before she could reapply for entry legally as Jorge’s wife. Magda left voluntarily in April 2012, rather than be arrested and deported by the authorities.\u003c/p>\n\u003cp>Ironically, when she was in the U.S., Magda worked as the associate producer on an independent film called \u003ca href=\"http://ww2.kqed.org/arts/2015/05/02/an-undocumented-student-finds-unlikely-support-in-sin-visa/\">\"Sin Visa.\"\u003c/a> It showcases life in California as an undocumented person.\u003c/p>\n\u003cp>\u003cstrong>Margaritas, Jalisco\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10651125\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16437_Margaritas-street-view-with-church-qut.jpg\">\u003cimg class=\"size-medium wp-image-10651125\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16437_Margaritas-street-view-with-church-qut-800x533.jpg\" alt=\"Street view of Margaritas, Jalisco, with Our Lady of the Assumption Church at the end.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16437_Margaritas-street-view-with-church-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16437_Margaritas-street-view-with-church-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16437_Margaritas-street-view-with-church-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16437_Margaritas-street-view-with-church-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16437_Margaritas-street-view-with-church-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16437_Margaritas-street-view-with-church-qut-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Street view of Margaritas, Jalisco, with Our Lady of the Assumption Church at the end. \u003ccite>(Fernando Aguila Navarro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like a small village,\" Magda explains . \"Very simple people, but with a very warm and big heart. You are welcome to come anytime you want to!”\u003c/p>\n\u003cp>Jorge thought about moving to Mexico to be with Magda, but he makes good money in his career here. If he left, he figured he’d be fixing computers at a corner store in Mexico, earning peanuts. Jorge needs the money: The couple has incurred legal debt over the years, trying to adjust Magda's immigration status.\u003c/p>\n\u003cp>There's another reason. Jorge and Magda don't have children, but their two young goddaughters live in the Bay Area. He and Magda are very close to the girls, who sometimes travel with him to see her in Mexico. He says it would be very hard on the girls if both he and Magda left. Her forced departure is already hard on both of their families. Their former home in Milpitas was the social center where relatives gathered for major holidays.\u003c/p>\n\u003cp>\u003cstrong>Staying connected\u003c/strong>\u003c/p>\n\u003cp>“Our house, it was like a grandma’s house. Because all my family, all my sisters and brothers, we get together for the feasts, for everything, for the holy days,\" Magda says. \"Now that I’m here, it’s kind of hard. So, last year, I was in charge to do the blessing during the Thanksgiving and Christmas. Well, since I was not with them, I used the iPad and I was able to see each other and the food and I sent my bless[ing] for the food.\"\u003c/p>\n\u003cp>She adds: \"I love pumpkin pie.\"\u003c/p>\n\u003cp>In many ways, the iPad allows Magda to reconnect her family with their roots in Margaritas. Magda gives walking tours around the village, especially during festivals like the \u003ca href=\"http://www.mexconnect.com/articles/1103-posadas-pastorelas-and-nacimientos\">Christmas Posadas\u003c/a>. But even the day-to-day seems more present than it might otherwise.\u003c/p>\n\u003cp>“Like, right now, some of the trees are blooming, and they have a little fruits. And I just told [Jorge], ‘Look, look at what I’m eating.’ Or, the people is passing by, I say, ‘Look. Say ‘hi’ to my husband.’ They say, ‘This is your husband? -- 'Hi, how you doing?' ”\u003c/p>\n\u003cp>Magda and Jorge attend Mass together sometimes at the local church in Margaritas, \"Nuestra Senora de la Asuncion,\" or \"Our Lady of the Assumption.\" Magda got permission from the priest to have Jorge join her, via her iPad, when the church Wi-Fi is working.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'During the day, I can smile, I can talk to people, I can dance and everything. But when the darkness come and I have to go to my room, this is the hardest part, because there is nobody … nobody there.'\u003ccite> Maria Magdalena Ortega Delgado\u003c/cite>\u003c/aside>\n\u003cp>Jorge is in a \u003ca href=\"https://en.wikipedia.org/wiki/Rondalla\">rondallas\u003c/a> group, a Spanish guitar group. He plays for Magda and records songs for her birthday. I asked him to play something for her, and he chose a piece from a song called \u003ca href=\"https://www.youtube.com/watch?v=sct0-7rs2zY\">“Yolanda,” \u003c/a>famously sung by Cuban singer-songwriter \u003ca href=\"http://www.milanespablo.com/\">Pablo Milanes\u003c/a>. Musicians performed this song at Jorge and Magda's wedding 21 years ago.\u003c/p>\n\u003cp>As Jorge strummed the guitar and sang, \u003cem>“Te amo, te amo, eternamente te amo,”\u003c/em> Magda joined him, singing in unison through cyberspace.\u003c/p>\n\u003cp>“Our souls are together,\" she tells him. \"I know when you are sick; I can feel that. I know when you are sad; I can feel that, too. And I know that you do the same thing. And I just want to tell you that. It is not easy.\"\u003c/p>\n\u003cp>Then they sign off, like they do every day.\u003c/p>\n\u003cp>Jorge: “I love you, Mama.”\u003cbr>\nMagda: “I love you too, Papa. Bye, have a nice day.”\u003cbr>\nJorge: “You, too.”\u003c/p>\n\u003cp>And then they disconnect.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This podcast features music by Explosions in the Sky: \"Hello!\" with David Wingo, and \"Be Comfortable, Creature\"\u003c/em>\u003c/p>\n\n",
"disqusIdentifier": "10647076 http://ww2.kqed.org/news/?p=10647076",
"disqusUrl": "https://ww2.kqed.org/news/2015/09/02/love-in-the-digital-age-jorge-magda/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1365,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 34
},
"modified": 1616446726,
"excerpt": "Married in 1994, they're now three years into a 10-year separation because of immigration law.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Married in 1994, they're now three years into a 10-year separation because of immigration law.",
"title": "Love in the Digital Age: Jorge & Magda | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Love in the Digital Age: Jorge & Magda",
"datePublished": "2015-09-02T18:38:37-07:00",
"dateModified": "2021-03-22T13:58:46-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"guestAuthors": [],
"slug": "love-in-the-digital-age-jorge-magda",
"status": "publish",
"templateType": "standard",
"audioUrl": "https://www.kqed.org/.stream/mp3splice/radio/tcr/2015/09/LDAJorgeMagda.mp3",
"featuredImageType": "standard",
"path": "/news/10647076/love-in-the-digital-age-jorge-magda",
"audioDuration": 490000,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine you can’t be near the person you love. It could be a long-distance relationship or a military deployment. Jorge Arreola and his wife, Maria Magdalena Ortega Delgado, are three years into a 10-year separation. Magda -- everyone calls her Magda -- overstayed a tourist visa, and U.S. immigration law requires her to stay out of the country for a decade before she can apply to return.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cimg class=\"alignleft\" src=\"http://u.s.kqed.net/2015/09/14/LITDApodcastlogo.jpg\">\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/love-in-the-digital-age/id1037051180?mt=2\">Subscribe in iTunes\u003c/a>\u003c/h3>\n\u003cp>Don't miss an episode of 'Love in the Digital Age'\u003c/p>\n\u003c/div>\n\u003cp>Jorge is a U.S. citizen, who lives in San Jose and works as an equipment engineer at \u003ca href=\"http://amphenol-sensors.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amphenol Sensors\u003c/a> in Fremont. He tries to present a brave face, but he grieves.\u003c/p>\n\u003caside class=\"pullquote alignright\">'Half of myself is over there with her, and half of herself is over here with me.'\u003ccite> Jorge Arreola \u003c/cite>\u003c/aside>\n\u003cp>Sitting in his home office, surrounded by books and photos of Magda, he says, \"I try to keep myself busy. That way, we don’t think about this situation, but it’s hard. You can get to a depression, by just thinking over and over and over, about the same thing.”\u003c/p>\n\u003cp>Jorge and Magda live much of their marriage in a third place they have created online, using their phone, Facebook Messenger and FaceTime. When I visited him, we connected with Magda on FaceTime so we could all talk together.\u003c/p>\n\u003cp>Magda, who is 44, went back to a village called \u003ca href=\"https://www.google.com/maps/place/Margaritas,+Jal.,+Mexico/@20.4543837,-102.4739238,9z/data=!4m2!3m1!1s0x842ec879bc58e2d1:0x647cb0a4b9a7cef4\">Margaritas\u003c/a>, population 3,000, about 80 miles east of Guadalajara . She grew up there, and she still has relatives there.\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>Jorge, 47, does come to visit, every two or three months. Magda often meets him in Tijuana, where Jorge was born, or he flies to Guadalajara, a 3½- to four-hour journey from San Jose.\u003c/p>\n\u003cp>\u003cstrong>How Magda Got in Trouble With Immigration Authorities\u003c/strong>\u003c/p>\n\u003cp>Magda's father immigrated to the United States legally from Mexico in 1992. Over the years, she visited periodically. When Magda was around 20, she visited and overstayed her tourist visa. Then she left the U.S. for Mexico and returned “without inspection,” which means what you think it means: She crossed the border illegally.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003cbr>\nDespite all that, Magda expected to gain papers under her family’s application for green cards, which they eventually acquired. What Magda didn’t realize was that her cross-border travel put her in a precarious situation following \u003ca href=\"http://www.nolo.com/legal-encyclopedia/free-books/fiance-marriage-visa-book/chapter2-4.html\">a 1996 change in immigration law\u003c/a>, designed to penalize people who spent time in the U.S. illegally.\u003c/p>\n\u003cp>She unwittingly further complicated her status with the U.S. government when she married Jorge in 1994\u003cstrong>,\u003c/strong> after meeting him at a church in San Jose. She was no longer her father's child in the eyes of immigration authorities, and no longer qualified to be included in her father's immigration package.\u003c/p>\n\u003cfigure id=\"attachment_10648551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16386_Jorge_Magda_wedding-qut.jpg\">\u003cimg class=\"wp-image-10648551 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16386_Jorge_Magda_wedding-qut-800x538.jpg\" alt=\"Jorge and Magda's wedding, 21 years ago.\" width=\"800\" height=\"538\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16386_Jorge_Magda_wedding-qut-800x538.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16386_Jorge_Magda_wedding-qut-400x269.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16386_Jorge_Magda_wedding-qut.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jorge and Magda's wedding, 21 years ago.\u003c/figcaption>\u003c/figure>\n\u003cp>Given that Jorge has been a U.S. citizen since 2008, Jorge and Magda figured they could adjust her immigration status. But after years of attempting to do just that, Magda lost her appeal. Here’s an excerpt from the 2011 Board of Immigration Appeals decision against her:\u003c/p>\n\u003cp>\u003cem>“The respondent is ineligible for a grant of adjustment of status. … The Immigration Judge additionally concluded that the respondent did not satisfy the 10-year continuous physical presence requirement for cancellation of removal.”\u003c/em>\u003c/p>\n\u003cp>This spelled big trouble for the couple. Magda would have to leave the U.S. for 10 years before she could reapply for entry legally as Jorge’s wife. Magda left voluntarily in April 2012, rather than be arrested and deported by the authorities.\u003c/p>\n\u003cp>Ironically, when she was in the U.S., Magda worked as the associate producer on an independent film called \u003ca href=\"http://ww2.kqed.org/arts/2015/05/02/an-undocumented-student-finds-unlikely-support-in-sin-visa/\">\"Sin Visa.\"\u003c/a> It showcases life in California as an undocumented person.\u003c/p>\n\u003cp>\u003cstrong>Margaritas, Jalisco\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10651125\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16437_Margaritas-street-view-with-church-qut.jpg\">\u003cimg class=\"size-medium wp-image-10651125\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16437_Margaritas-street-view-with-church-qut-800x533.jpg\" alt=\"Street view of Margaritas, Jalisco, with Our Lady of the Assumption Church at the end.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16437_Margaritas-street-view-with-church-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16437_Margaritas-street-view-with-church-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16437_Margaritas-street-view-with-church-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16437_Margaritas-street-view-with-church-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16437_Margaritas-street-view-with-church-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16437_Margaritas-street-view-with-church-qut-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Street view of Margaritas, Jalisco, with Our Lady of the Assumption Church at the end. \u003ccite>(Fernando Aguila Navarro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like a small village,\" Magda explains . \"Very simple people, but with a very warm and big heart. You are welcome to come anytime you want to!”\u003c/p>\n\u003cp>Jorge thought about moving to Mexico to be with Magda, but he makes good money in his career here. If he left, he figured he’d be fixing computers at a corner store in Mexico, earning peanuts. Jorge needs the money: The couple has incurred legal debt over the years, trying to adjust Magda's immigration status.\u003c/p>\n\u003cp>There's another reason. Jorge and Magda don't have children, but their two young goddaughters live in the Bay Area. He and Magda are very close to the girls, who sometimes travel with him to see her in Mexico. He says it would be very hard on the girls if both he and Magda left. Her forced departure is already hard on both of their families. Their former home in Milpitas was the social center where relatives gathered for major holidays.\u003c/p>\n\u003cp>\u003cstrong>Staying connected\u003c/strong>\u003c/p>\n\u003cp>“Our house, it was like a grandma’s house. Because all my family, all my sisters and brothers, we get together for the feasts, for everything, for the holy days,\" Magda says. \"Now that I’m here, it’s kind of hard. So, last year, I was in charge to do the blessing during the Thanksgiving and Christmas. Well, since I was not with them, I used the iPad and I was able to see each other and the food and I sent my bless[ing] for the food.\"\u003c/p>\n\u003cp>She adds: \"I love pumpkin pie.\"\u003c/p>\n\u003cp>In many ways, the iPad allows Magda to reconnect her family with their roots in Margaritas. Magda gives walking tours around the village, especially during festivals like the \u003ca href=\"http://www.mexconnect.com/articles/1103-posadas-pastorelas-and-nacimientos\">Christmas Posadas\u003c/a>. But even the day-to-day seems more present than it might otherwise.\u003c/p>\n\u003cp>“Like, right now, some of the trees are blooming, and they have a little fruits. And I just told [Jorge], ‘Look, look at what I’m eating.’ Or, the people is passing by, I say, ‘Look. Say ‘hi’ to my husband.’ They say, ‘This is your husband? -- 'Hi, how you doing?' ”\u003c/p>\n\u003cp>Magda and Jorge attend Mass together sometimes at the local church in Margaritas, \"Nuestra Senora de la Asuncion,\" or \"Our Lady of the Assumption.\" Magda got permission from the priest to have Jorge join her, via her iPad, when the church Wi-Fi is working.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'During the day, I can smile, I can talk to people, I can dance and everything. But when the darkness come and I have to go to my room, this is the hardest part, because there is nobody … nobody there.'\u003ccite> Maria Magdalena Ortega Delgado\u003c/cite>\u003c/aside>\n\u003cp>Jorge is in a \u003ca href=\"https://en.wikipedia.org/wiki/Rondalla\">rondallas\u003c/a> group, a Spanish guitar group. He plays for Magda and records songs for her birthday. I asked him to play something for her, and he chose a piece from a song called \u003ca href=\"https://www.youtube.com/watch?v=sct0-7rs2zY\">“Yolanda,” \u003c/a>famously sung by Cuban singer-songwriter \u003ca href=\"http://www.milanespablo.com/\">Pablo Milanes\u003c/a>. Musicians performed this song at Jorge and Magda's wedding 21 years ago.\u003c/p>\n\u003cp>As Jorge strummed the guitar and sang, \u003cem>“Te amo, te amo, eternamente te amo,”\u003c/em> Magda joined him, singing in unison through cyberspace.\u003c/p>\n\u003cp>“Our souls are together,\" she tells him. \"I know when you are sick; I can feel that. I know when you are sad; I can feel that, too. And I know that you do the same thing. And I just want to tell you that. It is not easy.\"\u003c/p>\n\u003cp>Then they sign off, like they do every day.\u003c/p>\n\u003cp>Jorge: “I love you, Mama.”\u003cbr>\nMagda: “I love you too, Papa. Bye, have a nice day.”\u003cbr>\nJorge: “You, too.”\u003c/p>\n\u003cp>And then they disconnect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This podcast features music by Explosions in the Sky: \"Hello!\" with David Wingo, and \"Be Comfortable, Creature\"\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10647076/love-in-the-digital-age-jorge-magda",
"authors": [
"250"
],
"programs": [
"news_72"
],
"categories": [
"news_1169",
"news_8"
],
"tags": [
"news_18143",
"news_29274",
"news_2403",
"news_17286"
],
"featImg": "news_10666083",
"label": "news_72"
},
"news_10665724": {
"type": "posts",
"id": "news_10665724",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10665724",
"score": null,
"sort": [
1441204590000
]
},
"guestAuthors": [],
"slug": "berkeley-library-chief-quits-amid-furor-over-book-weeding",
"title": "Berkeley Library Chief Quits Amid Furor Over Book 'Weeding'",
"publishDate": 1441204590,
"format": "standard",
"headTitle": "Berkeley Library Chief Quits Amid Furor Over Book ‘Weeding’ | KQED",
"labelTerm": {
"term": 6944,
"site": "news"
},
"content": "\u003cp>The head of the Berkeley Public Library has resigned in the midst of \u003ca href=\"http://www.berkeleyside.com/2015/08/27/performance-of-berkeleys-library-director-under-fire-at-meeting-of-library-trustees/comment-page-1/\" target=\"_blank\" rel=\"noopener\">a controversy\u003c/a> over the weeding of books from the city’s Central Library.\u003c/p>\n\u003cp>Jeff Scott, who took the job as director of library services just 10 months ago, has been on the defensive as critics questioned his management style and honesty.\u003c/p>\n\u003cp>“It is with a heavy heart that I tender my resignation as the Director of Library Services of the Berkeley Public Library. I have enjoyed my work here at the library and I am proud of what we have been able to accomplish,” Scott said in a statement Monday.\u003c/p>\n\u003cp>The library’s Board of Trustees will initiate a search to fill the position.\u003c/p>\n\u003cp>Members of the public, as well as current and former librarians, have accused Scott of lying about the number of books discarded by the library in the weeding process. They’ve also charged that he removed key library personnel from the process of culling the collection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just under 1,000 people signed \u003ca href=\"http://www.petitions.moveon.org/sign/librarygate-stop-senseless/?source=search\" target=\"_blank\" rel=\"noopener\">a MoveOn.org\u003c/a> petition calling for Scott’s suspension or removal.\u003c/p>\n\u003cp>Scott took much of the criticism on at \u003ca href=\"http://www.berkeleyside.com/2015/08/27/performance-of-berkeleys-library-director-under-fire-at-meeting-of-library-trustees/comment-page-1/\" target=\"_blank\" rel=\"noopener\">a special meeting\u003c/a> of the Board of Library Trustees last week.\u003c/p>\n\u003cp>Many at the meeting complained about what they said was an overly aggressive book-weeding policy, as well as what they perceived to be a hostile working environment at the libraries and a lack of honesty and trust. They said they thought Scott had lied to the community about the number of items weeded out.\u003c/p>\n\u003cp>Scott initially said he thought 2,200 items had been discarded this year. He later acknowledged that the real number was 39,000, pointing out that in a previous year more than 50,000 items were weeded out. Some also said they were punished for speaking out against the collections management policy.\u003c/p>\n\u003cp>A number of the speakers called for Scott to be either fired or suspended without pay.\u003c/p>\n\u003cp>Pat Mullan, a former librarian who was a leader in the campaign against the weeding, told Berkeleyside she was “relieved” at the news of Scott’s resignation.\u003c/p>\n\u003cp>“The community is aghast at what happened,” Mullan said. “I hope the library board now can take the reins and find an interim director who understands the staff and the collection while doing a national search.“\u003c/p>\n\u003cp>Mullan added that she thought two other staffers in collection management should also leave.\u003c/p>\n\u003cp>“I am really happy he is gone. He was the wrong man for the job,” said Bob Baty, who retired as the libraries’ head of maintenance in 2008 after 19 years and who now serves on the board of the Friends of the Berkeley Public Library.\u003c/p>\n\u003cp>“He consistently lied to us about the number of books that were pulped, number one,” Baty said. “And number two, he kept saying they were all going to the Friends, and all we got were five boxes out of 39,000 volumes. So he broke trust with the entire staff, and therefore his ability to lead was gone.”\u003c/p>\n\u003cp>City Councilman Kriss Worthington, who called last week for an independent investigation into the weeding issue, said he still wants to know more about what happened at the libraries.\u003c/p>\n\u003cp>“If somebody else is responsible for the mistreatment of the librarians and inaccurate information, they shouldn’t be off the hook and have him be the sacrificial lamb,” Worthington said. “We need to see what went wrong. Where did the inaccurate information come from. Did it come from him only? From one person to him? From two people to him? Who made the mistakes?”\u003c/p>\n\u003cp>This is the second Berkeley library director who has been forced to resign in recent history. Jackie Griffin resigned in 2006 over union-related issues.\u003c/p>\n\u003cp>While Scott was in his position for only about 10 months, he oversaw the creation of a new strategic plan for the library, one that included creating a larger gathering spot for teens in the Central Library. He was concerned about how to balance the needs of the homeless with other patrons and set up a task force to consider the situation. He was also active on social media, \u003ca href=\"https://twitter.com/jdscott50/\" target=\"_blank\" rel=\"noopener\">tweeting regularly\u003c/a> about library events and issues. He is a voracious reader and posted book reviews regularly on \u003ca href=\"https://www.goodreads.com/review/list/321314-jeff-scott\" target=\"_blank\" rel=\"noopener\">Goodreads\u003c/a>.\u003c/p>\n\u003cp>The board is scheduled to meet next week, at which time it will discuss the details for a new director search.\u003c/p>\n\u003cp>“We feel the role of the director of the Berkeley Public Library is a terrific opportunity, and we look forward to proceeding with that selection,” said Abigail Franklin, chair of the library board.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Berkeleyside broke this story on Twitter. Want to get breaking news quickly? Follow Berkeleyside on \u003ca href=\"https://twitter.com/berkeleyside\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a> and on \u003ca href=\"https://www.facebook.com/berkeleyside\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Director departs amid accusations he lied about how many books were being removed from shelves.",
"status": "publish",
"parent": 0,
"modified": 1721106348,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 24,
"wordCount": 811
},
"headData": {
"title": "Berkeley Library Chief Quits Amid Furor Over Book 'Weeding' | KQED",
"description": "Director departs amid accusations he lied about how many books were being removed from shelves.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Berkeley Library Chief Quits Amid Furor Over Book 'Weeding'",
"datePublished": "2015-09-02T07:36:30-07:00",
"dateModified": "2024-07-15T22:05:48-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"sticky": false,
"nprByline": "\u003cstrong>\u003ca href=\"http://www.berkeleyside.com/author/tracey/\" target=\"_blank\">Tracey Taylor\u003c/a>\u003cbr />Berkeleyside\u003c/strong>",
"path": "/news/10665724/berkeley-library-chief-quits-amid-furor-over-book-weeding",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The head of the Berkeley Public Library has resigned in the midst of \u003ca href=\"http://www.berkeleyside.com/2015/08/27/performance-of-berkeleys-library-director-under-fire-at-meeting-of-library-trustees/comment-page-1/\" target=\"_blank\" rel=\"noopener\">a controversy\u003c/a> over the weeding of books from the city’s Central Library.\u003c/p>\n\u003cp>Jeff Scott, who took the job as director of library services just 10 months ago, has been on the defensive as critics questioned his management style and honesty.\u003c/p>\n\u003cp>“It is with a heavy heart that I tender my resignation as the Director of Library Services of the Berkeley Public Library. I have enjoyed my work here at the library and I am proud of what we have been able to accomplish,” Scott said in a statement Monday.\u003c/p>\n\u003cp>The library’s Board of Trustees will initiate a search to fill the position.\u003c/p>\n\u003cp>Members of the public, as well as current and former librarians, have accused Scott of lying about the number of books discarded by the library in the weeding process. They’ve also charged that he removed key library personnel from the process of culling the collection.\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>Just under 1,000 people signed \u003ca href=\"http://www.petitions.moveon.org/sign/librarygate-stop-senseless/?source=search\" target=\"_blank\" rel=\"noopener\">a MoveOn.org\u003c/a> petition calling for Scott’s suspension or removal.\u003c/p>\n\u003cp>Scott took much of the criticism on at \u003ca href=\"http://www.berkeleyside.com/2015/08/27/performance-of-berkeleys-library-director-under-fire-at-meeting-of-library-trustees/comment-page-1/\" target=\"_blank\" rel=\"noopener\">a special meeting\u003c/a> of the Board of Library Trustees last week.\u003c/p>\n\u003cp>Many at the meeting complained about what they said was an overly aggressive book-weeding policy, as well as what they perceived to be a hostile working environment at the libraries and a lack of honesty and trust. They said they thought Scott had lied to the community about the number of items weeded out.\u003c/p>\n\u003cp>Scott initially said he thought 2,200 items had been discarded this year. He later acknowledged that the real number was 39,000, pointing out that in a previous year more than 50,000 items were weeded out. Some also said they were punished for speaking out against the collections management policy.\u003c/p>\n\u003cp>A number of the speakers called for Scott to be either fired or suspended without pay.\u003c/p>\n\u003cp>Pat Mullan, a former librarian who was a leader in the campaign against the weeding, told Berkeleyside she was “relieved” at the news of Scott’s resignation.\u003c/p>\n\u003cp>“The community is aghast at what happened,” Mullan said. “I hope the library board now can take the reins and find an interim director who understands the staff and the collection while doing a national search.“\u003c/p>\n\u003cp>Mullan added that she thought two other staffers in collection management should also leave.\u003c/p>\n\u003cp>“I am really happy he is gone. He was the wrong man for the job,” said Bob Baty, who retired as the libraries’ head of maintenance in 2008 after 19 years and who now serves on the board of the Friends of the Berkeley Public Library.\u003c/p>\n\u003cp>“He consistently lied to us about the number of books that were pulped, number one,” Baty said. “And number two, he kept saying they were all going to the Friends, and all we got were five boxes out of 39,000 volumes. So he broke trust with the entire staff, and therefore his ability to lead was gone.”\u003c/p>\n\u003cp>City Councilman Kriss Worthington, who called last week for an independent investigation into the weeding issue, said he still wants to know more about what happened at the libraries.\u003c/p>\n\u003cp>“If somebody else is responsible for the mistreatment of the librarians and inaccurate information, they shouldn’t be off the hook and have him be the sacrificial lamb,” Worthington said. “We need to see what went wrong. Where did the inaccurate information come from. Did it come from him only? From one person to him? From two people to him? Who made the mistakes?”\u003c/p>\n\u003cp>This is the second Berkeley library director who has been forced to resign in recent history. Jackie Griffin resigned in 2006 over union-related issues.\u003c/p>\n\u003cp>While Scott was in his position for only about 10 months, he oversaw the creation of a new strategic plan for the library, one that included creating a larger gathering spot for teens in the Central Library. He was concerned about how to balance the needs of the homeless with other patrons and set up a task force to consider the situation. He was also active on social media, \u003ca href=\"https://twitter.com/jdscott50/\" target=\"_blank\" rel=\"noopener\">tweeting regularly\u003c/a> about library events and issues. He is a voracious reader and posted book reviews regularly on \u003ca href=\"https://www.goodreads.com/review/list/321314-jeff-scott\" target=\"_blank\" rel=\"noopener\">Goodreads\u003c/a>.\u003c/p>\n\u003cp>The board is scheduled to meet next week, at which time it will discuss the details for a new director search.\u003c/p>\n\u003cp>“We feel the role of the director of the Berkeley Public Library is a terrific opportunity, and we look forward to proceeding with that selection,” said Abigail Franklin, chair of the library board.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Berkeleyside broke this story on Twitter. Want to get breaking news quickly? Follow Berkeleyside on \u003ca href=\"https://twitter.com/berkeleyside\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a> and on \u003ca href=\"https://www.facebook.com/berkeleyside\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10665724/berkeley-library-chief-quits-amid-furor-over-book-weeding",
"authors": [
"byline_news_10665724"
],
"programs": [
"news_6944"
],
"categories": [
"news_223"
],
"tags": [
"news_129"
],
"featImg": "news_10665771",
"label": "news_6944"
},
"arts_10922430": {
"type": "posts",
"id": "arts_10922430",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10922430",
"score": null,
"sort": [
1441047641000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1441047641,
"format": "standard",
"title": "Bay Area Artists Dive into the Big Blue",
"headTitle": "Bay Area Artists Dive into the Big Blue | KQED",
"content": "\u003cp>Perched as we are on the edge of the North American continent with the Pacific Ocean continuously nipping at our heels, it’s no surprise that Bay Area visual artists look to the water for inspiration.\u003c/p>\n\u003cp>Addressing rising sea levels, the maritime history of San Francisco, the creatures who dwell beneath the surface and the very substance of our watery surroundings, local artists are tapping into a rich underwater terrain.\u003c/p>\n\u003cp>As KQED joins the BBC at the Monterey Aquarium for a three-day maritime extravaganza, \u003ca href=\"http://www.pbs.org/big-blue-live/home/\">BIG BLUE LIVE\u003c/a> in the coming days, KQED Arts marks the occasion with profiles of 10 Bay Area artists mining the depths of that same ocean.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922446\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922446\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Anno400-400x301.jpg\" alt=\"Kim Anno, Still from 'Water World: Berkeley,' 2014. (Photo: the artist)\" width=\"400\" height=\"301\">\u003cfigcaption class=\"wp-caption-text\">Kim Anno, Still from ‘Water World: Berkeley,’ 2014. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Anno\u003c/h3>\n\u003cp>In her ongoing project \u003ci>Men and Women in Water Cities\u003c/i>, painter and multimedia artist \u003ca href=\"http://www.kimanno.com/\" target=\"_blank\" rel=\"noopener\">Kim Anno\u003c/a> creates large-scale events in collaboration with actors, composers and dancers that culminate as finely-edited films. Most recently, \u003ci>Water City: Berkeley\u003c/i> asks, “What is the future when the seas have entered the cities?” Among the half-submerged performers, chants from \u003ci>Oedipus Rex\u003c/i>, pom-pom wielding cheerleaders and crowds of people running through wet sand, Anno paints a picture of a deranged yet poetic society attempting make meaning in a newly watery world.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922431\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922431\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Manila400-400x267.jpg\" alt=\"Michael Arcega, Installation view of 'El Conquistadork,' 2004. (Photo: the artist)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Michael Arcega, Installation view of ‘El Conquistadork,’ 2004. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Michael Arcega\u003c/h3>\n\u003cp>\u003ca href=\"http://arcega.us/home.html\" target=\"_blank\" rel=\"noopener\">Michael Arcega\u003c/a>’s playful approaches to language, the history of colonization and other uneven power dynamics often center around bodies of water. In 2001, he constructed a miniature Manila galleon out of manila folders, christened the ship “El Conquistadork” and \u003ca href=\"https://www.youtube.com/watch?v=ouclXOrMG84\" target=\"”_blank”\" rel=\"noopener\">successfully rowed it around Tomales Bay\u003c/a>, a historical stop along a famed, centuries-long trade route between Mexico City, Manila and California. Ten years later, Arcega built “Baby,” a collapsible Pacific outrigger canoe. The artist sailed the vessel in numerous bodies of water across the United States, reversing the path of Manifest Destiny by bringing a Pacific ship to the Atlantic.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922432\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922432\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Archive400-400x238.jpg\" alt=\"A People's Archive of Sinking and Melting, 'New York Collection,' collected Nov. 5, 2012. (Photo: Amy Balkin)\" width=\"400\" height=\"238\">\u003cfigcaption class=\"wp-caption-text\">A People’s Archive of Sinking and Melting, ‘New York Collection,’ collected Nov. 5, 2012. (Photo: Amy Balkin)\u003c/figcaption>\u003c/figure>\n\u003ch3>Amy Balkin\u003c/h3>\n\u003cp>Amy Balkin’s ongoing \u003ci>\u003ca href=\"http://www.sinkingandmelting.org/\" target=\"_blank\" rel=\"noopener\">A People’s Archive of Sinking and Melting\u003c/a>\u003c/i> is a collection of items from places around the world that may disappear due to the effects of climate change, whether that’s rising sea levels, melting glaciers, desertification or coastal erosion. By asking the public to contribute items, the archive argues for climate change as a series of personal experiences rather than a set of abstract figures. Venetian confetti joins detritus from New Orleans and a growing California collection to document a changing world we all occupy and can’t ignore.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922533\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Elliott400-400x276.jpg\" alt=\"Marshall Elliott, 'Blow Ups,' 2015. (Photo: the artist)\" width=\"400\" height=\"276\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Blow Ups,’ 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Marshall Elliott\u003c/h3>\n\u003cp>For his series \u003ci>The Hidden Can Still Wreck You and Would Be Better Made Visible\u003c/i>, \u003ca href=\"http://marshallelliott.com/\" target=\"_blank\" rel=\"noopener\">Marshall Elliott\u003c/a> adopts different material forms, such as sculpture, video, works on paper, commemorative plates, to represent the invisible. His focus? The Bedrock Knobs of San Francisco — small rocks in the San Francisco Bay that met an explosive fate at the end of the 19th century when the US Army Corps of Engineers blasted the rocks as navigation hazards, forever altering the natural landscape of the Bay. Elliott’s work, small-scale gestures honoring formations deemed too dangerous to exist, respectfully pull a forgotten bit of Bay Area history from the depths of obscurity.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922433\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922433\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Escott400-400x267.jpg\" alt=\"Alicia Escott, 'How to Buy Train Oil.' 2015. (Photo: the artist)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Alicia Escott, ‘How to Buy Train Oil.’ 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Alicia Escott\u003c/h3>\n\u003cp>When \u003ca href=\"http://aliciaescott.com/home.html\" target=\"_blank\" rel=\"noopener\">Alicia Escott\u003c/a> moved her studio from the Mission to the Outer Sunset more than three years ago, her practice shifted accordingly. In \u003ci>Letters Sent Sometime After The Continents Separated,\u003c/i> the artist writes missives to extinct or soon-to-be extinct species in the voice of a former lover, filling them in on all that’s happened since they disappeared. Once such letter, addressed to the blue whale and dated from 2105, is tragic and funny: “Ironically there is more water here than ever. It is difficult to reconcile my longing for you and our days by the sea, amid soaring prices for landlocked real-estate in a world much underwater. Between the foghorn calls, on stormy days, sometimes I think I almost hear your voice.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922434\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922434\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Geis400-400x264.jpg\" alt=\"Tanja Geis, 'Muddle of Littoral Artifacts,' 2015. (Photo: Berkeley Art Center)\" width=\"400\" height=\"264\">\u003cfigcaption class=\"wp-caption-text\">Tanja Geis, ‘Muddle of Littoral Artifacts,’ 2015. (Photo: Berkeley Art Center)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tanja Geis\u003c/h3>\n\u003cp>Recent UC Berkeley MFA graduate \u003ca href=\"http://www.tanjageis.com/website/work.html\" target=\"_blank\" rel=\"noopener\">Tanja Geis\u003c/a> uses material pulled from the San Francisco Bay across media: mud becomes pigment in her large-scale works on paper, objects pulled from the water form hanging sculptures and underwater footage creates mesmerizing video. Not only did her work force me to look up the meaning of the word “littoral” (of, relating to, or situated on the shore of the sea or a lake), it asks the viewer to turn their understanding of the world upside down and see what’s concealed just below the surface.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922437\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922437\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Hartman400-400x300.jpg\" alt=\"Lauren Hartman, Archives of the Society of Submerged Culture, 2015. (Photo: the artist)\" width=\"400\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Lauren Hartman, Archives of the Society of Submerged Culture, 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Lauren Hartman\u003c/h3>\n\u003cp>For the past few years, mixed media artist \u003ca href=\"http://artbylaurenhartman.com/home.html\" target=\"_blank\" rel=\"noopener\">Lauren Hartman\u003c/a> has focused her practice on human interactions with the sea. From embroideries of oil rig explosions to paintings of shipwrecks made with gold leaf and mother of pearl on panel, she painstakingly renders the follies of our attempts to harness nature. A recent social practice project, \u003ca href=\"http://www.societyofsubmergedculture.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Society of Submerged Culture\u003c/i>\u003c/a> brought together historians, explorers, archeologists, artists, underwater enthusiasts, sailors and swimmers to document and discuss the history of San Francisco (a city built on top of abandoned Gold Rush-era ships) and its coastline.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922439\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922439\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Hockaday400-400x267.jpg\" alt=\"Constance Hockaday, 'All These Darlings and Now Us,' 2014. (Performer: Persia; Photo: Catherine McElhone)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Constance Hockaday, ‘All These Darlings and Now Us,’ 2014. (Performer: Persia; Photo: Catherine McElhone)\u003c/figcaption>\u003c/figure>\n\u003ch3>Constance Hockaday\u003c/h3>\n\u003cp>\u003ca href=\"http://www.constancehockaday.com/\" target=\"_blank\" rel=\"noopener\">Constance Hockaday\u003c/a>’s boat-related projects have taken her from \u003ca href=\"http://www.constancehockaday.com/content-exploration/\" target=\"_blank\" rel=\"noopener\">Far Rockaway, Queens\u003c/a> to \u003ca href=\"http://www.constancehockaday.com/neue-berlin/\" target=\"_blank\" rel=\"noopener\">Treasure Island’s Clipper Cove\u003c/a> as she creates temporary communities on the water in response to changing economic and social conditions on dry land. For \u003ci>All These Darlings and Now Us\u003c/i>, Hockaday invited dancers and patrons from the recently-closed Lusty Lady and Esta Noche (a North Beach worker-owned strip club and a Mission district Latino gay bar, respectively) to participate in a floating peepshow, celebrating the temporary freedom of life offshore.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922441\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922441\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Skandali400-400x225.jpg\" alt=\"Dimitra Skandali, 'My Aegean Portal,' 2015. (Photo: the artist/Bridge Residency)\" width=\"400\" height=\"225\">\u003cfigcaption class=\"wp-caption-text\">Dimitra Skandali, ‘My Aegean Portal,’ 2015. (Photo: the artist/Bridge Residency)\u003c/figcaption>\u003c/figure>\n\u003ch3>Dimitra Skandali\u003c/h3>\n\u003cp>Raised on the Greek island of Paros, \u003ca href=\"http://dimitraskandali.com/home.html\" target=\"_blank\" rel=\"noopener\">Dimitra Skandali\u003c/a> routinely references the ocean in her installation and sound-based work. Her \u003ca href=\"//alterspace.co/exhibitions/dimitra-skandali-loves-fears-and-hopes/%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">recent exhibition\u003c/a> at Alter Space turned the subterranean gallery into the closest thing to a sea cave you’ll get on dry land. Using simple materials — steel wool, wire, strands of sea grass and reflected light — she created a space that was at once magical and claustrophobic, accurately channeling both the beauty and danger of the sea.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922440\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922440\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Sollars400-400x225.jpg\" alt=\"Chris Sollars, 'The Swimmer, 2013. (Video still: the artist)\" width=\"400\" height=\"225\">\u003cfigcaption class=\"wp-caption-text\">Chris Sollars, ‘The Swimmer, 2013. (Video still: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Chris Sollars\u003c/h3>\n\u003cp>Multimedia artist Chris Sollars has long engaged with the watery edges of San Francisco, but nowhere so completely as in his 2013 solo show at Steven Wolf Fine Arts, \u003ci>\u003ca href=\"http://www.667shotwell.com/ChrisSollars/2013/the_swimmer_install.html\" target=\"_blank\" rel=\"noopener\">The Swimmer\u003c/a>\u003c/i>. Works in the delightfully-deadpan exhibit included barnacle-encrusted objects, documentation of Sollars walking the entire San Francisco coastline from Candlestick Point to Ocean Beach and a video inspired by John Cheever’s short story “The Swimmer,” in which Sollars traverses the city via bodies of water, from public swimming pool to dinky plaza fountain.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1260,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705046459,
"excerpt": "In tandem with the BBC and PBS's live documentary event at the Monterey Bay Aquarium, KQED Arts shares a sampling of Bay Area artists who seek inspiration from the sea.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In tandem with the BBC and PBS's live documentary event at the Monterey Bay Aquarium, KQED Arts shares a sampling of Bay Area artists who seek inspiration from the sea.",
"title": "Bay Area Artists Dive into the Big Blue | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bay Area Artists Dive into the Big Blue",
"datePublished": "2015-08-31T12:00:41-07:00",
"dateModified": "2024-01-12T00:00:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bay-area-artists-dive-into-the-big-blue",
"status": "publish",
"sticky": false,
"path": "/arts/10922430/bay-area-artists-dive-into-the-big-blue",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perched as we are on the edge of the North American continent with the Pacific Ocean continuously nipping at our heels, it’s no surprise that Bay Area visual artists look to the water for inspiration.\u003c/p>\n\u003cp>Addressing rising sea levels, the maritime history of San Francisco, the creatures who dwell beneath the surface and the very substance of our watery surroundings, local artists are tapping into a rich underwater terrain.\u003c/p>\n\u003cp>As KQED joins the BBC at the Monterey Aquarium for a three-day maritime extravaganza, \u003ca href=\"http://www.pbs.org/big-blue-live/home/\">BIG BLUE LIVE\u003c/a> in the coming days, KQED Arts marks the occasion with profiles of 10 Bay Area artists mining the depths of that same ocean.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922446\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922446\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Anno400-400x301.jpg\" alt=\"Kim Anno, Still from 'Water World: Berkeley,' 2014. (Photo: the artist)\" width=\"400\" height=\"301\">\u003cfigcaption class=\"wp-caption-text\">Kim Anno, Still from ‘Water World: Berkeley,’ 2014. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Anno\u003c/h3>\n\u003cp>In her ongoing project \u003ci>Men and Women in Water Cities\u003c/i>, painter and multimedia artist \u003ca href=\"http://www.kimanno.com/\" target=\"_blank\" rel=\"noopener\">Kim Anno\u003c/a> creates large-scale events in collaboration with actors, composers and dancers that culminate as finely-edited films. Most recently, \u003ci>Water City: Berkeley\u003c/i> asks, “What is the future when the seas have entered the cities?” Among the half-submerged performers, chants from \u003ci>Oedipus Rex\u003c/i>, pom-pom wielding cheerleaders and crowds of people running through wet sand, Anno paints a picture of a deranged yet poetic society attempting make meaning in a newly watery world.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922431\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922431\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Manila400-400x267.jpg\" alt=\"Michael Arcega, Installation view of 'El Conquistadork,' 2004. (Photo: the artist)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Michael Arcega, Installation view of ‘El Conquistadork,’ 2004. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Michael Arcega\u003c/h3>\n\u003cp>\u003ca href=\"http://arcega.us/home.html\" target=\"_blank\" rel=\"noopener\">Michael Arcega\u003c/a>’s playful approaches to language, the history of colonization and other uneven power dynamics often center around bodies of water. In 2001, he constructed a miniature Manila galleon out of manila folders, christened the ship “El Conquistadork” and \u003ca href=\"https://www.youtube.com/watch?v=ouclXOrMG84\" target=\"”_blank”\" rel=\"noopener\">successfully rowed it around Tomales Bay\u003c/a>, a historical stop along a famed, centuries-long trade route between Mexico City, Manila and California. Ten years later, Arcega built “Baby,” a collapsible Pacific outrigger canoe. The artist sailed the vessel in numerous bodies of water across the United States, reversing the path of Manifest Destiny by bringing a Pacific ship to the Atlantic.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922432\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922432\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Archive400-400x238.jpg\" alt=\"A People's Archive of Sinking and Melting, 'New York Collection,' collected Nov. 5, 2012. (Photo: Amy Balkin)\" width=\"400\" height=\"238\">\u003cfigcaption class=\"wp-caption-text\">A People’s Archive of Sinking and Melting, ‘New York Collection,’ collected Nov. 5, 2012. (Photo: Amy Balkin)\u003c/figcaption>\u003c/figure>\n\u003ch3>Amy Balkin\u003c/h3>\n\u003cp>Amy Balkin’s ongoing \u003ci>\u003ca href=\"http://www.sinkingandmelting.org/\" target=\"_blank\" rel=\"noopener\">A People’s Archive of Sinking and Melting\u003c/a>\u003c/i> is a collection of items from places around the world that may disappear due to the effects of climate change, whether that’s rising sea levels, melting glaciers, desertification or coastal erosion. By asking the public to contribute items, the archive argues for climate change as a series of personal experiences rather than a set of abstract figures. Venetian confetti joins detritus from New Orleans and a growing California collection to document a changing world we all occupy and can’t ignore.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922533\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Elliott400-400x276.jpg\" alt=\"Marshall Elliott, 'Blow Ups,' 2015. (Photo: the artist)\" width=\"400\" height=\"276\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Blow Ups,’ 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Marshall Elliott\u003c/h3>\n\u003cp>For his series \u003ci>The Hidden Can Still Wreck You and Would Be Better Made Visible\u003c/i>, \u003ca href=\"http://marshallelliott.com/\" target=\"_blank\" rel=\"noopener\">Marshall Elliott\u003c/a> adopts different material forms, such as sculpture, video, works on paper, commemorative plates, to represent the invisible. His focus? The Bedrock Knobs of San Francisco — small rocks in the San Francisco Bay that met an explosive fate at the end of the 19th century when the US Army Corps of Engineers blasted the rocks as navigation hazards, forever altering the natural landscape of the Bay. Elliott’s work, small-scale gestures honoring formations deemed too dangerous to exist, respectfully pull a forgotten bit of Bay Area history from the depths of obscurity.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922433\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922433\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Escott400-400x267.jpg\" alt=\"Alicia Escott, 'How to Buy Train Oil.' 2015. (Photo: the artist)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Alicia Escott, ‘How to Buy Train Oil.’ 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Alicia Escott\u003c/h3>\n\u003cp>When \u003ca href=\"http://aliciaescott.com/home.html\" target=\"_blank\" rel=\"noopener\">Alicia Escott\u003c/a> moved her studio from the Mission to the Outer Sunset more than three years ago, her practice shifted accordingly. In \u003ci>Letters Sent Sometime After The Continents Separated,\u003c/i> the artist writes missives to extinct or soon-to-be extinct species in the voice of a former lover, filling them in on all that’s happened since they disappeared. Once such letter, addressed to the blue whale and dated from 2105, is tragic and funny: “Ironically there is more water here than ever. It is difficult to reconcile my longing for you and our days by the sea, amid soaring prices for landlocked real-estate in a world much underwater. Between the foghorn calls, on stormy days, sometimes I think I almost hear your voice.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922434\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922434\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Geis400-400x264.jpg\" alt=\"Tanja Geis, 'Muddle of Littoral Artifacts,' 2015. (Photo: Berkeley Art Center)\" width=\"400\" height=\"264\">\u003cfigcaption class=\"wp-caption-text\">Tanja Geis, ‘Muddle of Littoral Artifacts,’ 2015. (Photo: Berkeley Art Center)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tanja Geis\u003c/h3>\n\u003cp>Recent UC Berkeley MFA graduate \u003ca href=\"http://www.tanjageis.com/website/work.html\" target=\"_blank\" rel=\"noopener\">Tanja Geis\u003c/a> uses material pulled from the San Francisco Bay across media: mud becomes pigment in her large-scale works on paper, objects pulled from the water form hanging sculptures and underwater footage creates mesmerizing video. Not only did her work force me to look up the meaning of the word “littoral” (of, relating to, or situated on the shore of the sea or a lake), it asks the viewer to turn their understanding of the world upside down and see what’s concealed just below the surface.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922437\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922437\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Hartman400-400x300.jpg\" alt=\"Lauren Hartman, Archives of the Society of Submerged Culture, 2015. (Photo: the artist)\" width=\"400\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Lauren Hartman, Archives of the Society of Submerged Culture, 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Lauren Hartman\u003c/h3>\n\u003cp>For the past few years, mixed media artist \u003ca href=\"http://artbylaurenhartman.com/home.html\" target=\"_blank\" rel=\"noopener\">Lauren Hartman\u003c/a> has focused her practice on human interactions with the sea. From embroideries of oil rig explosions to paintings of shipwrecks made with gold leaf and mother of pearl on panel, she painstakingly renders the follies of our attempts to harness nature. A recent social practice project, \u003ca href=\"http://www.societyofsubmergedculture.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Society of Submerged Culture\u003c/i>\u003c/a> brought together historians, explorers, archeologists, artists, underwater enthusiasts, sailors and swimmers to document and discuss the history of San Francisco (a city built on top of abandoned Gold Rush-era ships) and its coastline.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922439\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922439\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Hockaday400-400x267.jpg\" alt=\"Constance Hockaday, 'All These Darlings and Now Us,' 2014. (Performer: Persia; Photo: Catherine McElhone)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Constance Hockaday, ‘All These Darlings and Now Us,’ 2014. (Performer: Persia; Photo: Catherine McElhone)\u003c/figcaption>\u003c/figure>\n\u003ch3>Constance Hockaday\u003c/h3>\n\u003cp>\u003ca href=\"http://www.constancehockaday.com/\" target=\"_blank\" rel=\"noopener\">Constance Hockaday\u003c/a>’s boat-related projects have taken her from \u003ca href=\"http://www.constancehockaday.com/content-exploration/\" target=\"_blank\" rel=\"noopener\">Far Rockaway, Queens\u003c/a> to \u003ca href=\"http://www.constancehockaday.com/neue-berlin/\" target=\"_blank\" rel=\"noopener\">Treasure Island’s Clipper Cove\u003c/a> as she creates temporary communities on the water in response to changing economic and social conditions on dry land. For \u003ci>All These Darlings and Now Us\u003c/i>, Hockaday invited dancers and patrons from the recently-closed Lusty Lady and Esta Noche (a North Beach worker-owned strip club and a Mission district Latino gay bar, respectively) to participate in a floating peepshow, celebrating the temporary freedom of life offshore.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922441\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922441\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Skandali400-400x225.jpg\" alt=\"Dimitra Skandali, 'My Aegean Portal,' 2015. (Photo: the artist/Bridge Residency)\" width=\"400\" height=\"225\">\u003cfigcaption class=\"wp-caption-text\">Dimitra Skandali, ‘My Aegean Portal,’ 2015. (Photo: the artist/Bridge Residency)\u003c/figcaption>\u003c/figure>\n\u003ch3>Dimitra Skandali\u003c/h3>\n\u003cp>Raised on the Greek island of Paros, \u003ca href=\"http://dimitraskandali.com/home.html\" target=\"_blank\" rel=\"noopener\">Dimitra Skandali\u003c/a> routinely references the ocean in her installation and sound-based work. Her \u003ca href=\"//alterspace.co/exhibitions/dimitra-skandali-loves-fears-and-hopes/%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">recent exhibition\u003c/a> at Alter Space turned the subterranean gallery into the closest thing to a sea cave you’ll get on dry land. Using simple materials — steel wool, wire, strands of sea grass and reflected light — she created a space that was at once magical and claustrophobic, accurately channeling both the beauty and danger of the sea.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922440\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922440\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Sollars400-400x225.jpg\" alt=\"Chris Sollars, 'The Swimmer, 2013. (Video still: the artist)\" width=\"400\" height=\"225\">\u003cfigcaption class=\"wp-caption-text\">Chris Sollars, ‘The Swimmer, 2013. (Video still: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Chris Sollars\u003c/h3>\n\u003cp>Multimedia artist Chris Sollars has long engaged with the watery edges of San Francisco, but nowhere so completely as in his 2013 solo show at Steven Wolf Fine Arts, \u003ci>\u003ca href=\"http://www.667shotwell.com/ChrisSollars/2013/the_swimmer_install.html\" target=\"_blank\" rel=\"noopener\">The Swimmer\u003c/a>\u003c/i>. Works in the delightfully-deadpan exhibit included barnacle-encrusted objects, documentation of Sollars walking the entire San Francisco coastline from Candlestick Point to Ocean Beach and a video inspired by John Cheever’s short story “The Swimmer,” in which Sollars traverses the city via bodies of water, from public swimming pool to dinky plaza fountain.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10922430/bay-area-artists-dive-into-the-big-blue",
"authors": [
"61"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_596"
],
"featImg": "arts_10922442",
"label": "arts"
},
"arts_10927051": {
"type": "posts",
"id": "arts_10927051",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10927051",
"score": null,
"sort": [
1440997229000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1440997229,
"format": "standard",
"title": "Wes Craven, Master Horror Movie Director, Dies at 76",
"headTitle": "Wes Craven, Master Horror Movie Director, Dies at 76 | KQED",
"content": "\u003cp>Wes Craven, the legendary horror director behind the \u003cem>A Nightmare on Elm Street \u003c/em>and \u003cem>Scream \u003c/em>franchises, has died at 76.\u003c/p>\n\u003cp>His verified Twitter account \u003ca href=\"https://twitter.com/wescraven\" target=\"_blank\" rel=\"noopener\">posted about his death\u003c/a> Sunday evening. The Associated Press reports that he had brain cancer and died in his Los Angeles home, according to a statement from his family.\u003c/p>\n\u003cp>Craven’s early life didn’t presage a career in horror films. He was raised in a fundamentalist Baptist household, and went to a Christian college — one where, he \u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-wes-craven-retirement-plan-20100218-story.html\" target=\"_blank\" rel=\"noopener\">told the Los Angeles Times in 2010\u003c/a>, “you would be expelled if you were caught in a movie theater.”\u003c/p>\n\u003cp>Before his career as a horror movie maestro, Craven had a life in academia — he earned a master’s degree in philosophy and writing from Johns Hopkins University, and worked as an English professor. He also directed pornography before making his mark on the slasher genre.\u003c/p>\n\u003cp>In the ’70s and early ’80s, Craven directed \u003cem>Last House on the Left,\u003c/em> which quickly established his horror bona fides, followed by films including \u003cem>The Hills Have Eyes \u003c/em>and \u003cem>Swamp Thing. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then, in 1984, he released \u003cem>A Nightmare On Elm Street — \u003c/em>starring a 21-year-old unknown named Johnny Depp.\u003c/p>\n\u003cp>With the release, the AP notes, Craven “was credited with reinventing the teen horror genre” — not to mention starting an enormously successful series.\u003c/p>\n\u003cp>The famously prolific director went on to launch the popular \u003cem>Scream \u003c/em>franchise in the ’90s. Like much of his work, the \u003cem>Scream \u003c/em>movies mixed slasher gore with wry humor. He departed from the horror genre to direct \u003cem>Music of the Heart, \u003c/em>a drama starring Meryl Streep, which was nominated for two Oscars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Most recently, he served as executive producer for \u003cem>The Girl in the Photographs, \u003c/em>which is debuting at the \u003ca href=\"http://tiff.net/festivals/festival15/midnightmadness/the-girl-in-the-photographs\" target=\"_blank\" rel=\"noopener\">Toronto Film Festival next month\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Wes+Craven%2C+Master+Horror+Movie+Director%2C+Dies+At+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 322,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705046462,
"excerpt": "The legendary director of \u003cem>Nightmare on Elm Street \u003c/em>and\u003cem> Scream \u003c/em>has died. His films, which often mixed slasher gore with wry humor, helped reinvent the horror genre.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The legendary director of Nightmare on Elm Street and Scream has died. His films, which often mixed slasher gore with wry humor, helped reinvent the horror genre.",
"title": "Wes Craven, Master Horror Movie Director, Dies at 76 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Wes Craven, Master Horror Movie Director, Dies at 76",
"datePublished": "2015-08-30T22:00:29-07:00",
"dateModified": "2024-01-12T00:01:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "wes-craven-master-horror-movie-director-dies-at-76",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=436171462&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Camila Domonoske",
"nprStoryDate": "Sun, 30 Aug 2015 23:12:00 -0400",
"nprLastModifiedDate": "Sun, 30 Aug 2015 23:36:07 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/08/30/436171462/wes-craven-master-horror-movie-director-dies-at-76?ft=nprml&f=436171462",
"nprStoryId": "436171462",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 30 Aug 2015 23:36:00 -0400",
"path": "/arts/10927051/wes-craven-master-horror-movie-director-dies-at-76",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wes Craven, the legendary horror director behind the \u003cem>A Nightmare on Elm Street \u003c/em>and \u003cem>Scream \u003c/em>franchises, has died at 76.\u003c/p>\n\u003cp>His verified Twitter account \u003ca href=\"https://twitter.com/wescraven\" target=\"_blank\" rel=\"noopener\">posted about his death\u003c/a> Sunday evening. The Associated Press reports that he had brain cancer and died in his Los Angeles home, according to a statement from his family.\u003c/p>\n\u003cp>Craven’s early life didn’t presage a career in horror films. He was raised in a fundamentalist Baptist household, and went to a Christian college — one where, he \u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-wes-craven-retirement-plan-20100218-story.html\" target=\"_blank\" rel=\"noopener\">told the Los Angeles Times in 2010\u003c/a>, “you would be expelled if you were caught in a movie theater.”\u003c/p>\n\u003cp>Before his career as a horror movie maestro, Craven had a life in academia — he earned a master’s degree in philosophy and writing from Johns Hopkins University, and worked as an English professor. He also directed pornography before making his mark on the slasher genre.\u003c/p>\n\u003cp>In the ’70s and early ’80s, Craven directed \u003cem>Last House on the Left,\u003c/em> which quickly established his horror bona fides, followed by films including \u003cem>The Hills Have Eyes \u003c/em>and \u003cem>Swamp Thing. \u003c/em>\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>Then, in 1984, he released \u003cem>A Nightmare On Elm Street — \u003c/em>starring a 21-year-old unknown named Johnny Depp.\u003c/p>\n\u003cp>With the release, the AP notes, Craven “was credited with reinventing the teen horror genre” — not to mention starting an enormously successful series.\u003c/p>\n\u003cp>The famously prolific director went on to launch the popular \u003cem>Scream \u003c/em>franchise in the ’90s. Like much of his work, the \u003cem>Scream \u003c/em>movies mixed slasher gore with wry humor. He departed from the horror genre to direct \u003cem>Music of the Heart, \u003c/em>a drama starring Meryl Streep, which was nominated for two Oscars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Most recently, he served as executive producer for \u003cem>The Girl in the Photographs, \u003c/em>which is debuting at the \u003ca href=\"http://tiff.net/festivals/festival15/midnightmadness/the-girl-in-the-photographs\" target=\"_blank\" rel=\"noopener\">Toronto Film Festival next month\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Wes+Craven%2C+Master+Horror+Movie+Director%2C+Dies+At+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10927051/wes-craven-master-horror-movie-director-dies-at-76",
"authors": [
"byline_arts_10927051"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10927052",
"label": "arts_137"
},
"arts_10926144": {
"type": "posts",
"id": "arts_10926144",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10926144",
"score": null,
"sort": [
1440952345000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1440952345,
"format": "standard",
"title": "Oliver Sacks, Renowned Neurologist and Author, Dies at 82",
"headTitle": "Oliver Sacks, Renowned Neurologist and Author, Dies at 82 | KQED",
"content": "\u003cp>Oliver Sacks, the famed neurologist and best-selling author of books such as \u003cem>The Man Who Mistook His Wife for a Hat\u003c/em>, died of cancer Sunday in New York City at the age of 82, a long-time friend and colleague has confirmed.\u003c/p>\n\u003cp>The London-born academic’s 1973 memoir\u003cem> Awakenings\u003c/em>, about his efforts to use the drug L-Dopa to bring patients who survived the 1917-1928 encephalitis epidemic out of their persistent catatonic state, was turned into a 1990 Hollywood film starring Robin Williams and Robert De Niro. He was the author of a dozen other books.\u003c/p>\n\u003cp>A friend and colleague, Orrin Devinsky, who is a professor of neurology at New York University, where Sacks worked for many years, emailed NPR to confirm the death.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/08/31/science/oliver-sacks-dies-at-82-neurologist-and-author-explored-the-brains-quirks.html?_r=0\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“As a medical doctor and a writer, Dr. Sacks achieved a level of popular renown rare among scientists. More than a million copies of his books are in print in the United States, his work was adapted for film and stage, and he received about 10,000 letters a year. (‘I invariably reply to people under 10, over 90 or in prison,’ he once said.)\u003c/p>\n\u003cp>“Dr. Sacks variously described his books and essays as case histories, pathographies, clinical tales or ‘neurological novels.’ His subjects included Madeleine J., a blind woman who perceived her hands only as useless ‘lumps of dough’; Jimmie G., a submarine radio operator whose amnesia stranded him for more than three decades in 1945; and Dr. P. — the man who mistook his wife for a hat — whose brain lost the ability to decipher what his eyes were seeing.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Author Lisa Appignanesi, writing in \u003ca href=\"http://www.theguardian.com/books/2015/aug/30/oliver-sacks-dies-aged-82-eminent-neurologist-author-awakenings\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> earlier this year, said of Sacks that he could transform his subjects into grand characters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For all their lacks and losses, or what the medics call ‘deficits’, Sacks’s subjects have a capacious 19th-century humanity,” Appignanesi wrote. “No mere objects of hasty clinical notes, or articles in professional journals, his ‘patients’ are transformed by his interest, sympathetic gaze and ability to convey optimism in tragedy into grand characters who can transcend their conditions. They emerge as the very types of our neuroscientific age.”\u003c/p>\n\u003cp>In his later life, Sacks began studying hallucinations, partly inspired by his youthful experimentation with LSD. He wrote a book and conducted lectures on the subject. In an interview with Terry Gross, host of \u003ca href=\"http://www.npr.org/2013/06/21/193925787/oliver-sacks-exploring-how-hallucinations-happen\" target=\"_blank\" rel=\"noopener\">NPR’s Fresh Air\u003c/a>, in 2012, Sacks said:\u003c/p>\n\u003cp>“I was fascinated that one could have such perceptual changes, and also that they went with a certain feeling of significance, an almost numinous feeling. I’m strongly atheist by disposition, but nonetheless when this happened, I couldn’t help thinking, ‘That must be what the hand of God is like.’ ”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed-ssl.ted.com/talks/oliver_sacks_what_hallucination_reveals_about_our_minds.html\" width=\"560\" height=\"315\" frameborder=\"0\" scrolling=\"no\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Sacks did a TED Talk on the subject in 2009:\u003c/p>\n\u003cp>In an Op-Ed that appeared in the \u003cem>Times\u003c/em> in February, Sacks announced that what had started out as a melanoma in his eye had spread to his liver and that he didn’t have long to live.\u003c/p>\n\u003cp>“It is up to me now to choose how to live out the months that remain to me. I have to live in the richest, deepest, most productive way I can,” he wrote.\u003c/p>\n\u003cp>“I have been lucky enough to live past 80, and the 15 years allotted to me beyond Hume’s three score and five have been equally rich in work and love,” Sacks wrote. “In that time, I have published five books and completed an autobiography (rather longer than Hume’s few pages) to be published this spring; I have several other books nearly finished.”\u003c/p>\n\u003cp>And, in an opinion piece published in the \u003ca href=\"http://www.nytimes.com/2015/08/16/opinion/sunday/oliver-sacks-sabbath.html?smid=tw-nytimes\" target=\"_blank\" rel=\"noopener\">Times\u003c/a> earlier this month, Sacks wrote:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[N]ow, weak, short of breath, my once-firm muscles melted away by cancer, I find my thoughts, increasingly, not on the supernatural or spiritual, but on what is meant by living a good and worthwhile life — achieving a sense of peace within oneself. I find my thoughts drifting to the Sabbath, the day of rest, the seventh day of the week, and perhaps the seventh day of one’s life as well, when one can feel that one’s work is done, and one may, in good conscience, rest.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Oliver+Sacks%2C+Renowned+Neurologist+And+Author%2C+Dies+At+82&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": true,
"hasAudio": false,
"hasPolis": false,
"wordCount": 761,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [
"https://embed-ssl.ted.com/talks/oliver_sacks_what_hallucination_reveals_about_our_minds.html"
],
"paragraphCount": 19
},
"modified": 1705046463,
"excerpt": "His book \u003cem>Awakenings\u003c/em>, about reviving patients from a catatonic state was turned into a 1990 film. He also wrote more than a dozen other books, including \u003cem>The Man Who Mistook His Wife for a Hat.\u003c/em>",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "His book Awakenings, about reviving patients from a catatonic state was turned into a 1990 film. He also wrote more than a dozen other books, including The Man Who Mistook His Wife for a Hat.",
"title": "Oliver Sacks, Renowned Neurologist and Author, Dies at 82 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Oliver Sacks, Renowned Neurologist and Author, Dies at 82",
"datePublished": "2015-08-30T09:32:25-07:00",
"dateModified": "2024-01-12T00:01:03-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "oliver-sacks-renowned-neurologist-and-author-dies-at-82",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=436013382&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Scott Neuman",
"nprStoryDate": "Sun, 30 Aug 2015 08:53:00 -0400",
"nprLastModifiedDate": "Sun, 30 Aug 2015 09:43:16 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/08/30/436013382/oliver-sacks-renowned-neurologist-and-author-dies-at-82?ft=nprml&f=436013382",
"nprStoryId": "436013382",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 30 Aug 2015 09:43:00 -0400",
"path": "/arts/10926144/oliver-sacks-renowned-neurologist-and-author-dies-at-82",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oliver Sacks, the famed neurologist and best-selling author of books such as \u003cem>The Man Who Mistook His Wife for a Hat\u003c/em>, died of cancer Sunday in New York City at the age of 82, a long-time friend and colleague has confirmed.\u003c/p>\n\u003cp>The London-born academic’s 1973 memoir\u003cem> Awakenings\u003c/em>, about his efforts to use the drug L-Dopa to bring patients who survived the 1917-1928 encephalitis epidemic out of their persistent catatonic state, was turned into a 1990 Hollywood film starring Robin Williams and Robert De Niro. He was the author of a dozen other books.\u003c/p>\n\u003cp>A friend and colleague, Orrin Devinsky, who is a professor of neurology at New York University, where Sacks worked for many years, emailed NPR to confirm the death.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/08/31/science/oliver-sacks-dies-at-82-neurologist-and-author-explored-the-brains-quirks.html?_r=0\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“As a medical doctor and a writer, Dr. Sacks achieved a level of popular renown rare among scientists. More than a million copies of his books are in print in the United States, his work was adapted for film and stage, and he received about 10,000 letters a year. (‘I invariably reply to people under 10, over 90 or in prison,’ he once said.)\u003c/p>\n\u003cp>“Dr. Sacks variously described his books and essays as case histories, pathographies, clinical tales or ‘neurological novels.’ His subjects included Madeleine J., a blind woman who perceived her hands only as useless ‘lumps of dough’; Jimmie G., a submarine radio operator whose amnesia stranded him for more than three decades in 1945; and Dr. P. — the man who mistook his wife for a hat — whose brain lost the ability to decipher what his eyes were seeing.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Author Lisa Appignanesi, writing in \u003ca href=\"http://www.theguardian.com/books/2015/aug/30/oliver-sacks-dies-aged-82-eminent-neurologist-author-awakenings\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> earlier this year, said of Sacks that he could transform his subjects into grand 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>“For all their lacks and losses, or what the medics call ‘deficits’, Sacks’s subjects have a capacious 19th-century humanity,” Appignanesi wrote. “No mere objects of hasty clinical notes, or articles in professional journals, his ‘patients’ are transformed by his interest, sympathetic gaze and ability to convey optimism in tragedy into grand characters who can transcend their conditions. They emerge as the very types of our neuroscientific age.”\u003c/p>\n\u003cp>In his later life, Sacks began studying hallucinations, partly inspired by his youthful experimentation with LSD. He wrote a book and conducted lectures on the subject. In an interview with Terry Gross, host of \u003ca href=\"http://www.npr.org/2013/06/21/193925787/oliver-sacks-exploring-how-hallucinations-happen\" target=\"_blank\" rel=\"noopener\">NPR’s Fresh Air\u003c/a>, in 2012, Sacks said:\u003c/p>\n\u003cp>“I was fascinated that one could have such perceptual changes, and also that they went with a certain feeling of significance, an almost numinous feeling. I’m strongly atheist by disposition, but nonetheless when this happened, I couldn’t help thinking, ‘That must be what the hand of God is like.’ ”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed-ssl.ted.com/talks/oliver_sacks_what_hallucination_reveals_about_our_minds.html\" width=\"560\" height=\"315\" frameborder=\"0\" scrolling=\"no\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Sacks did a TED Talk on the subject in 2009:\u003c/p>\n\u003cp>In an Op-Ed that appeared in the \u003cem>Times\u003c/em> in February, Sacks announced that what had started out as a melanoma in his eye had spread to his liver and that he didn’t have long to live.\u003c/p>\n\u003cp>“It is up to me now to choose how to live out the months that remain to me. I have to live in the richest, deepest, most productive way I can,” he wrote.\u003c/p>\n\u003cp>“I have been lucky enough to live past 80, and the 15 years allotted to me beyond Hume’s three score and five have been equally rich in work and love,” Sacks wrote. “In that time, I have published five books and completed an autobiography (rather longer than Hume’s few pages) to be published this spring; I have several other books nearly finished.”\u003c/p>\n\u003cp>And, in an opinion piece published in the \u003ca href=\"http://www.nytimes.com/2015/08/16/opinion/sunday/oliver-sacks-sabbath.html?smid=tw-nytimes\" target=\"_blank\" rel=\"noopener\">Times\u003c/a> earlier this month, Sacks wrote:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[N]ow, weak, short of breath, my once-firm muscles melted away by cancer, I find my thoughts, increasingly, not on the supernatural or spiritual, but on what is meant by living a good and worthwhile life — achieving a sense of peace within oneself. I find my thoughts drifting to the Sabbath, the day of rest, the seventh day of the week, and perhaps the seventh day of one’s life as well, when one can feel that one’s work is done, and one may, in good conscience, rest.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Oliver+Sacks%2C+Renowned+Neurologist+And+Author%2C+Dies+At+82&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10926144/oliver-sacks-renowned-neurologist-and-author-dies-at-82",
"authors": [
"byline_arts_10926144"
],
"categories": [
"arts_73",
"arts_74",
"arts_235"
],
"tags": [
"arts_596",
"arts_1091",
"arts_973"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10926145",
"label": "arts_137"
},
"arts_10919734": {
"type": "posts",
"id": "arts_10919734",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10919734",
"score": null,
"sort": [
1440698431000
]
},
"guestAuthors": [],
"slug": "watch-a-thousand-rosie-the-riveters-set-a-world-record-in-richmond",
"title": "Watch a Thousand Rosie the Riveters Set a World Record in Richmond",
"publishDate": 1440698431,
"format": "video",
"headTitle": "Watch a Thousand Rosie the Riveters Set a World Record in Richmond | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>From 1940 to 1944, 8 million women entered the work force. Their mission: to produce the munitions, ships, planes and other support required to defeat the Japanese and Germans in WWII. Their emblem was a determined-looking lady in blue overalls flexing her right bicep. She wore red knee socks, work boots and a red bandana with white polka dots. They called her Rosie the Riveter, and she helped change the world.\u003c/p>\n\u003cp>[contextly_auto_sidebar id=”FeyQJtXfNpaqIYNuZQrAThVb3PN7a3wH”]\u003c/p>\n\u003cp>On August 15, 2015 in Richmond, CA, more than a thousand women of all ages gathered to celebrate Rosie’s legacy of can-do feminism. The gathering set a new world record for “The Largest Gathering of People Dressed as a Rosie the Riveter” (to be officially confirmed by Guinness World Records next month). Event organizer Sue Fritzke spoke for the original Rosies when she said, “We want the young women attending today to know that they can do anything they set their minds to.”\u003c/p>\n\u003cp>The event also commemorated the 70\u003csup>th\u003c/sup> anniversary of the end of World War II. The Richmond shipyards spearheaded the effort to turn the tide of the war. They built as many as three ships a day — more than any other West Coast shipyard. Today, the locations are part of the \u003ca href=\"https://en.wikipedia.org/wiki/Rosie_the_Riveter/World_War_II_Home_Front_National_Historical_Park\">Rosie the Riveter/World War II Home Front National Historical Park\u003c/a>. The park includes a Rosie memorial that sits on the former grounds of Shipyard #2.\u003c/p>\n\u003cp>Among the people attending the rally was Kay Morrison, 92, who served as a journeymen welder in the Richmond yards. When Morrison addressed the crowd at the event, she sought to connect the opportunity she was given during the war with the ongoing struggle for equal rights. “Equal pay for equal work should be for everyone,” Morrison said. “It’s very important for young women to know that if they work hard, they can do anything that they want to.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The sculpture that was unveiled at the event and presented in the video is “Can Do!” by sculptor Seward Johnson. \u003c/em>\u003cem>@2015 The Seward Johnson Atelier, Inc.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "KQED’s video captures the droves of costumed women who recently gathered to celebrate the World War II icon’s legacy of can-do feminism. ",
"status": "publish",
"parent": 0,
"modified": 1726788402,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 367
},
"headData": {
"title": "Watch a Thousand Rosie the Riveters Set a World Record in Richmond | KQED",
"description": "KQED’s video captures the droves of costumed women who recently gathered to celebrate the World War II icon’s legacy of can-do feminism. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Watch a Thousand Rosie the Riveters Set a World Record in Richmond",
"datePublished": "2015-08-27T11:00:31-07:00",
"dateModified": "2024-09-19T16:26:42-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"videoEmbed": "https://www.youtube.com/watch?v=LGOfv3uXYBk",
"sticky": false,
"path": "/arts/10919734/watch-a-thousand-rosie-the-riveters-set-a-world-record-in-richmond",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From 1940 to 1944, 8 million women entered the work force. Their mission: to produce the munitions, ships, planes and other support required to defeat the Japanese and Germans in WWII. Their emblem was a determined-looking lady in blue overalls flexing her right bicep. She wore red knee socks, work boots and a red bandana with white polka dots. They called her Rosie the Riveter, and she helped change the world.\u003c/p>\n\u003cp>[contextly_auto_sidebar id=”FeyQJtXfNpaqIYNuZQrAThVb3PN7a3wH”]\u003c/p>\n\u003cp>On August 15, 2015 in Richmond, CA, more than a thousand women of all ages gathered to celebrate Rosie’s legacy of can-do feminism. The gathering set a new world record for “The Largest Gathering of People Dressed as a Rosie the Riveter” (to be officially confirmed by Guinness World Records next month). Event organizer Sue Fritzke spoke for the original Rosies when she said, “We want the young women attending today to know that they can do anything they set their minds to.”\u003c/p>\n\u003cp>The event also commemorated the 70\u003csup>th\u003c/sup> anniversary of the end of World War II. The Richmond shipyards spearheaded the effort to turn the tide of the war. They built as many as three ships a day — more than any other West Coast shipyard. Today, the locations are part of the \u003ca href=\"https://en.wikipedia.org/wiki/Rosie_the_Riveter/World_War_II_Home_Front_National_Historical_Park\">Rosie the Riveter/World War II Home Front National Historical Park\u003c/a>. The park includes a Rosie memorial that sits on the former grounds of Shipyard #2.\u003c/p>\n\u003cp>Among the people attending the rally was Kay Morrison, 92, who served as a journeymen welder in the Richmond yards. When Morrison addressed the crowd at the event, she sought to connect the opportunity she was given during the war with the ongoing struggle for equal rights. “Equal pay for equal work should be for everyone,” Morrison said. “It’s very important for young women to know that if they work hard, they can do anything that they want to.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The sculpture that was unveiled at the event and presented in the video is “Can Do!” by sculptor Seward Johnson. \u003c/em>\u003cem>@2015 The Seward Johnson Atelier, Inc.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10919734/watch-a-thousand-rosie-the-riveters-set-a-world-record-in-richmond",
"authors": [
"7235"
],
"categories": [
"arts_235"
],
"tags": [
"arts_1310",
"arts_596",
"arts_1007"
],
"featImg": "arts_10919736",
"label": "arts"
},
"arts_10918964": {
"type": "posts",
"id": "arts_10918964",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10918964",
"score": null,
"sort": [
1440617761000
]
},
"guestAuthors": [],
"slug": "prominent-theater-director-mark-rucker-dies-at-56",
"title": "Prominent Theater Director Mark Rucker Dies at 56",
"publishDate": 1440617761,
"format": "standard",
"headTitle": "Prominent Theater Director Mark Rucker Dies at 56 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Mark Rucker, one of the Bay Area’s leading theater directors, has died. Rucker, 56 years old, was the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">associate artistic director at San Francisco’s American Conservatory Theater (ACT)\u003c/a> for five years.\u003c/p>\n\u003cp>He was found dead in his apartment Tuesday.\u003c/p>\n\u003cp>Rucker worked closely with ACT’s Artistic Director Carey Perloff, who called him an incredible artist, and “such a beloved colleague.”\u003c/p>\n\u003cp>Rucker directed many shows at ACT, including one of the company’s most widely praised recent productions, \u003ca href=\"http://ww2.kqed.org/arts/2015/02/27/in-post-apocalyptic-mr-burns-the-simpsons-are-literally-legendary/\" target=\"_blank\" rel=\"noopener\">\u003cem>Mr. Burns, a Post-Electric Play\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>In an interview Wednesday morning, Perloff said Rucker will be especially missed by students in the theater’s Master of Fine Arts program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He gave the students a great feeling of self-worth, and a great feeling of optimism about this profession of ours which can be very challenging, and very hard. And they really did their best work for him.”\u003c/p>\n\u003cp>“He did a \u003cem>Cherry Orchard\u003c/em> last fall that was so exquisite,” Perloff said, “it was the best Chekhov I’ve ever seen. Really.”\u003c/p>\n\u003cp>Rucker worked as a freelance theater director for 20 years, doing plays with nearly every major Bay Area theater company.\u003c/p>\n\u003cfigure id=\"attachment_10918961\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-426x600.jpg\" alt=\"Director Mark Rucker attends the premiere of "Die Mommy Die!" at the Loew's 34th Street October 27, 2003 in New York City.\" width=\"426\" height=\"600\" class=\"size-medium wp-image-10918961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-426x600.jpg 426w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-400x563.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP.jpg 600w\" sizes=\"(max-width: 426px) 100vw, 426px\">\u003cfigcaption class=\"wp-caption-text\">Director Mark Rucker attends the premiere of “Die Mommy Die!” at the Loew’s 34th Street October 27, 2003 in New York City. \u003ccite>(Photo: Matthew Peyton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also directed the 2003 classic camp film “\u003ca href=\"http://history.sundance.org/films/2776/die_mommie_die\" target=\"_blank\" rel=\"noopener\">Die Mommie Die\u003c/a>,” a vehicle for the playwright and actor Charles Busch. The film won the special jury prize for outstanding performance that year at the Sundance Film Festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cause of Rucker’s death has not been released as of the time of this story’s publication.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The ACT's associate artistic director was found dead in his apartment Tuesday. \"He was an incredible artist, and such a beloved colleague.\"",
"status": "publish",
"parent": 0,
"modified": 1726788404,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 297
},
"headData": {
"title": "Prominent Theater Director Mark Rucker Dies at 56 | KQED",
"description": "The ACT's associate artistic director was found dead in his apartment Tuesday. "He was an incredible artist, and such a beloved colleague."",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Prominent Theater Director Mark Rucker Dies at 56",
"datePublished": "2015-08-26T12:36:01-07:00",
"dateModified": "2024-09-19T16:26:44-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/10918964/prominent-theater-director-mark-rucker-dies-at-56",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mark Rucker, one of the Bay Area’s leading theater directors, has died. Rucker, 56 years old, was the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">associate artistic director at San Francisco’s American Conservatory Theater (ACT)\u003c/a> for five years.\u003c/p>\n\u003cp>He was found dead in his apartment Tuesday.\u003c/p>\n\u003cp>Rucker worked closely with ACT’s Artistic Director Carey Perloff, who called him an incredible artist, and “such a beloved colleague.”\u003c/p>\n\u003cp>Rucker directed many shows at ACT, including one of the company’s most widely praised recent productions, \u003ca href=\"http://ww2.kqed.org/arts/2015/02/27/in-post-apocalyptic-mr-burns-the-simpsons-are-literally-legendary/\" target=\"_blank\" rel=\"noopener\">\u003cem>Mr. Burns, a Post-Electric Play\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>In an interview Wednesday morning, Perloff said Rucker will be especially missed by students in the theater’s Master of Fine Arts program.\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>“He gave the students a great feeling of self-worth, and a great feeling of optimism about this profession of ours which can be very challenging, and very hard. And they really did their best work for him.”\u003c/p>\n\u003cp>“He did a \u003cem>Cherry Orchard\u003c/em> last fall that was so exquisite,” Perloff said, “it was the best Chekhov I’ve ever seen. Really.”\u003c/p>\n\u003cp>Rucker worked as a freelance theater director for 20 years, doing plays with nearly every major Bay Area theater company.\u003c/p>\n\u003cfigure id=\"attachment_10918961\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-426x600.jpg\" alt=\"Director Mark Rucker attends the premiere of "Die Mommy Die!" at the Loew's 34th Street October 27, 2003 in New York City.\" width=\"426\" height=\"600\" class=\"size-medium wp-image-10918961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-426x600.jpg 426w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-400x563.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP.jpg 600w\" sizes=\"(max-width: 426px) 100vw, 426px\">\u003cfigcaption class=\"wp-caption-text\">Director Mark Rucker attends the premiere of “Die Mommy Die!” at the Loew’s 34th Street October 27, 2003 in New York City. \u003ccite>(Photo: Matthew Peyton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also directed the 2003 classic camp film “\u003ca href=\"http://history.sundance.org/films/2776/die_mommie_die\" target=\"_blank\" rel=\"noopener\">Die Mommie Die\u003c/a>,” a vehicle for the playwright and actor Charles Busch. The film won the special jury prize for outstanding performance that year at the Sundance Film Festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cause of Rucker’s death has not been released as of the time of this story’s publication.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10918964/prominent-theater-director-mark-rucker-dies-at-56",
"authors": [
"32"
],
"categories": [
"arts_74",
"arts_235"
],
"tags": [
"arts_596",
"arts_1091"
],
"featImg": "arts_10918962",
"label": "arts"
},
"arts_10917152": {
"type": "posts",
"id": "arts_10917152",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10917152",
"score": null,
"sort": [
1440601235000
]
},
"guestAuthors": [],
"slug": "veteran-club-promoter-running-new-venue-in-kink-coms-armory",
"title": "Veteran Club Promoter Running New Venue in Kink.com's Armory",
"publishDate": 1440601235,
"format": "standard",
"headTitle": "Veteran Club Promoter Running New Venue in Kink.com’s Armory | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The San Francisco-based fetish pornography company Kink.com \u003ca href=\"http://www.sfgate.com/bayarea/article/Fetish-porn-palace-the-Armory-to-reopen-as-music-6458128.php\" target=\"_blank\" rel=\"noopener\">announced last week\u003c/a> that it is opening a new event venue within its offices inside The Armory, the former National Guard facility at Mission and 14th streets. \u003c/p>\n\u003cp>The venue, which is also known as Drill Court and has a capacity of 4,000 people, has hosted several events over the years, such as Pride parties and books fairs. But its potential as a music venue was put to the test in back in July when the British electronic duo The Chemical Brothers played there as the headliners of the Hard SF Festival. The show went off without a hitch so plans went forward to turn it into a full-time venue.\u003c/p>\n\u003cfigure id=\"attachment_10917328\" class=\"wp-caption alignright\" style=\"max-width: 350px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FolsomSt.jpg\" alt=\"Graphic of Audrey Joseph at Folsom Street Fair\" width=\"350\" height=\"349\" class=\"size-full wp-image-10917328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt.jpg 350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-75x75.jpg 75w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003cfigcaption class=\"wp-caption-text\">Graphic of Audrey Joseph at Folsom Street Fair \u003ccite>(Courtesy: Audreyjoseph.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the hall undergoes renovations such as soundproofing and having bathrooms installed, the owners hope to turn it into a music venue that rivals Bill Graham Auditorium or the Masonic by this fall. To lead the charge, the building’s owners have hired Audrey Joseph, vice chair on the San Francisco Entertainment Commission and a veteran club promoter responsible for running legendary dance clubs such as Club Townsend and the Mezzanine.\u003c/p>\n\u003cp>I recently spoke with Joseph about her plans for the new venue, her history and the state of San Francisco Night life today, and as you’ll see, she had a lot to say on those matters.\u003c/p>\n\u003cp>\u003cb>How did you get involved with Drill Court?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I saw the place before Kink.com owner Peter Acworth put a nickel into it and I thought it was pretty amazing. As Peter was fixing it up, I kept telling him, “I wanna do a gig here. I wanna do a gig here.” And finally he relented and he let me do one during the Pride before last. I did “Pride at the Armory: Prisoner of Love,” which was controversial because it had “prisoner” in the name. But it was an amazing event; I did it as a Club Universe reunion and we packed the house — there were 3,800 people there. Peter was amazed by the event as well and soon afterward I became a consultant for him on developing the space. But around then I got really sick — I got cancer — and I just dropped out of everything and went through 18 weeks of chemo. During this, Peter comes to me and says “We really need you to come in and talk to us.” I was still on chemo and I went in to talk to them, and they asked me to come work for them. I was going to sell my business anyway and I was in love with the space; it could be my girlfriend. So then I just started spending Peter’s money like crazy developing the space, adding a coat check, bathrooms, production office, service kitchen… I just went to town.\u003c/p>\n\u003cp>\u003cb>What are your plans for this new venue?\u003c/b>\u003c/p>\n\u003cp>It’s an event space and it’s probably the only event space of its type in the city; the closest to it might be Fort Mason. It’s a 40,000-square-foot space with an 80-foot dome, and we expect to do a lot of fabulous events there: concerts, dances, corporate parties, whatever. It’s one of those blank palettes that event planners can just get creative with.\u003c/p>\n\u003cfigure id=\"attachment_10917675\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/drillcourt_e-800x533.jpg\" alt=\"Another view of Drill Court\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10917675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another view of Drill Court \u003ccite>(Courtesy: Armorystudios.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What kind of events do you have in the works?\u003c/b>\u003c/p>\n\u003cp>This is off the top of my head, but we have a booked a lot of corporate Christmas parties and a beer festival in November. We are also going to set up a haunted house that will be running for half of October, Oct. 14 through Halloween, and we are going to have two Halloween parties. And we are also in talks with Goldenvoice and Live Nation about doing some gigs. \u003c/p>\n\u003cp>\u003cb>You’re a veteran with decades of experience in promoting clubs. How do you feel about booking a venue this large?\u003c/b>\u003c/p>\n\u003cp>I owned Club Townsend, a 20,000-square-foot venue on Townsend Street, for a decade. It was the Studio 54 of the west coast and we used to bring 3,000 people through the door on any given night. I also produced main stage at San Francisco Pride and the dance stage for Folsom Street Fair for a long time. I helped build the Mezzanine, which is still in existence today. Let’s put it this way: cocktail parties for ten people I’m not so good at. Give me 100,000 people and I’m great. I’m a size queen; I can do big much better than I can do little.\u003c/p>\n\u003cp>\u003cb>You used to work with \u003ca href=\"https://en.wikipedia.org/wiki/Sylvester_(singer)\" target=\"_blank\" rel=\"noopener\">Sylvester\u003c/a>, AKA The Queen of Disco. How did you come into that job?\u003c/b>\u003c/p>\n\u003cp>He’s the reason I’m here. I lived in New York and I was in a bad fire; I almost died. So I took a year off work and began traveling all over the country to see all of my friends. When I got here [to San Francisco], Patrick Cowley, Sylvester’s songwriter and producer, had passed away three days after I arrived; he was an early AIDS victim. After we buried him, I said, “Okay, I’m leaving!” And Sylvester said, “Where do you think you’re going? You’re not going anywhere; we have to put out Patrick’s music.” So I stayed for one song, “Do Ya Wanna Funk,” but then we went on to put out records like “Don’t Stop” and “All I Need.” Two years later I was like, “I guess I should find a place to live and find a bed.” It’s hard not to fall in love with this city, that’s for sure.\u003c/p>\n\u003cfigure id=\"attachment_10917676\" class=\"wp-caption alignright\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg\" alt=\"Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015\" width=\"698\" height=\"400\" class=\"size-full wp-image-10917676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph-400x229.jpg 400w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015 \u003ccite>(Courtesy: Audrey Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Being on the SF Entertainment Commission, how do you see the local club scene?\u003c/b>\u003c/p>\n\u003cp>I think the city has come a long way. A dozen years ago, police and city officials would call entertainment an attractive nuisance and they would blame it for anything that went wrong. Today, we did an economic impact study that showed that $4.2 billion is brought into the city between the hours of 9pm and 5am — the other 9 to 5. It also showed that there were 48,000 jobs in the entertainment industry and it paid about $55 million in payroll taxes. Also, we recently did a study on daytime events and found they brought $1.5 billion to the city. So, entertainment is an economic driver in a city whose number 1 industry is tourism. \u003c/p>\n\u003cp>In addition, over the last few years, there’s been about 200 and change tech companies that have come into the city whose employees are the millennials. If you want to service your population, then you have to give them what they need, and I’m not necessarily talking about Whole Foods. You’ve got to give them entertainment because that’s what these young people do until they stopped being young. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think the city recognized that entertainment is a thriving and important aspect of the general economy. Since that time, the city has instituted lots of policies that protect nightlife, such as legacy clubs. Also, Supervisor London Breed’s legislation passed that states that encroaching housing developments cannot negatively impact local entertainment. Entertainment in the city is valued and is even doing studies on nighttime public transportation to not only service those going out, but the people who work in these venues. The city is now in real support of entertainment. \u003c/p>\n\n",
"blocks": [],
"excerpt": "The owners of the former National Guard facility are opening a new 4,000-capacity venue and leading the project is former Club Townsend owner Audrey Joseph.",
"status": "publish",
"parent": 0,
"modified": 1726788405,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 1339
},
"headData": {
"title": "Veteran Club Promoter Running New Venue in Kink.com's Armory | KQED",
"description": "The owners of the former National Guard facility are opening a new 4,000-capacity venue and leading the project is former Club Townsend owner Audrey Joseph.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Veteran Club Promoter Running New Venue in Kink.com's Armory",
"datePublished": "2015-08-26T08:00:35-07:00",
"dateModified": "2024-09-19T16:26:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/10917152/veteran-club-promoter-running-new-venue-in-kink-coms-armory",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco-based fetish pornography company Kink.com \u003ca href=\"http://www.sfgate.com/bayarea/article/Fetish-porn-palace-the-Armory-to-reopen-as-music-6458128.php\" target=\"_blank\" rel=\"noopener\">announced last week\u003c/a> that it is opening a new event venue within its offices inside The Armory, the former National Guard facility at Mission and 14th streets. \u003c/p>\n\u003cp>The venue, which is also known as Drill Court and has a capacity of 4,000 people, has hosted several events over the years, such as Pride parties and books fairs. But its potential as a music venue was put to the test in back in July when the British electronic duo The Chemical Brothers played there as the headliners of the Hard SF Festival. The show went off without a hitch so plans went forward to turn it into a full-time venue.\u003c/p>\n\u003cfigure id=\"attachment_10917328\" class=\"wp-caption alignright\" style=\"max-width: 350px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FolsomSt.jpg\" alt=\"Graphic of Audrey Joseph at Folsom Street Fair\" width=\"350\" height=\"349\" class=\"size-full wp-image-10917328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt.jpg 350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-75x75.jpg 75w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003cfigcaption class=\"wp-caption-text\">Graphic of Audrey Joseph at Folsom Street Fair \u003ccite>(Courtesy: Audreyjoseph.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the hall undergoes renovations such as soundproofing and having bathrooms installed, the owners hope to turn it into a music venue that rivals Bill Graham Auditorium or the Masonic by this fall. To lead the charge, the building’s owners have hired Audrey Joseph, vice chair on the San Francisco Entertainment Commission and a veteran club promoter responsible for running legendary dance clubs such as Club Townsend and the Mezzanine.\u003c/p>\n\u003cp>I recently spoke with Joseph about her plans for the new venue, her history and the state of San Francisco Night life today, and as you’ll see, she had a lot to say on those matters.\u003c/p>\n\u003cp>\u003cb>How did you get involved with Drill Court?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I saw the place before Kink.com owner Peter Acworth put a nickel into it and I thought it was pretty amazing. As Peter was fixing it up, I kept telling him, “I wanna do a gig here. I wanna do a gig here.” And finally he relented and he let me do one during the Pride before last. I did “Pride at the Armory: Prisoner of Love,” which was controversial because it had “prisoner” in the name. But it was an amazing event; I did it as a Club Universe reunion and we packed the house — there were 3,800 people there. Peter was amazed by the event as well and soon afterward I became a consultant for him on developing the space. But around then I got really sick — I got cancer — and I just dropped out of everything and went through 18 weeks of chemo. During this, Peter comes to me and says “We really need you to come in and talk to us.” I was still on chemo and I went in to talk to them, and they asked me to come work for them. I was going to sell my business anyway and I was in love with the space; it could be my girlfriend. So then I just started spending Peter’s money like crazy developing the space, adding a coat check, bathrooms, production office, service kitchen… I just went to town.\u003c/p>\n\u003cp>\u003cb>What are your plans for this new venue?\u003c/b>\u003c/p>\n\u003cp>It’s an event space and it’s probably the only event space of its type in the city; the closest to it might be Fort Mason. It’s a 40,000-square-foot space with an 80-foot dome, and we expect to do a lot of fabulous events there: concerts, dances, corporate parties, whatever. It’s one of those blank palettes that event planners can just get creative with.\u003c/p>\n\u003cfigure id=\"attachment_10917675\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/drillcourt_e-800x533.jpg\" alt=\"Another view of Drill Court\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10917675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another view of Drill Court \u003ccite>(Courtesy: Armorystudios.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What kind of events do you have in the works?\u003c/b>\u003c/p>\n\u003cp>This is off the top of my head, but we have a booked a lot of corporate Christmas parties and a beer festival in November. We are also going to set up a haunted house that will be running for half of October, Oct. 14 through Halloween, and we are going to have two Halloween parties. And we are also in talks with Goldenvoice and Live Nation about doing some gigs. \u003c/p>\n\u003cp>\u003cb>You’re a veteran with decades of experience in promoting clubs. How do you feel about booking a venue this large?\u003c/b>\u003c/p>\n\u003cp>I owned Club Townsend, a 20,000-square-foot venue on Townsend Street, for a decade. It was the Studio 54 of the west coast and we used to bring 3,000 people through the door on any given night. I also produced main stage at San Francisco Pride and the dance stage for Folsom Street Fair for a long time. I helped build the Mezzanine, which is still in existence today. Let’s put it this way: cocktail parties for ten people I’m not so good at. Give me 100,000 people and I’m great. I’m a size queen; I can do big much better than I can do little.\u003c/p>\n\u003cp>\u003cb>You used to work with \u003ca href=\"https://en.wikipedia.org/wiki/Sylvester_(singer)\" target=\"_blank\" rel=\"noopener\">Sylvester\u003c/a>, AKA The Queen of Disco. How did you come into that job?\u003c/b>\u003c/p>\n\u003cp>He’s the reason I’m here. I lived in New York and I was in a bad fire; I almost died. So I took a year off work and began traveling all over the country to see all of my friends. When I got here [to San Francisco], Patrick Cowley, Sylvester’s songwriter and producer, had passed away three days after I arrived; he was an early AIDS victim. After we buried him, I said, “Okay, I’m leaving!” And Sylvester said, “Where do you think you’re going? You’re not going anywhere; we have to put out Patrick’s music.” So I stayed for one song, “Do Ya Wanna Funk,” but then we went on to put out records like “Don’t Stop” and “All I Need.” Two years later I was like, “I guess I should find a place to live and find a bed.” It’s hard not to fall in love with this city, that’s for sure.\u003c/p>\n\u003cfigure id=\"attachment_10917676\" class=\"wp-caption alignright\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg\" alt=\"Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015\" width=\"698\" height=\"400\" class=\"size-full wp-image-10917676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph-400x229.jpg 400w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015 \u003ccite>(Courtesy: Audrey Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Being on the SF Entertainment Commission, how do you see the local club scene?\u003c/b>\u003c/p>\n\u003cp>I think the city has come a long way. A dozen years ago, police and city officials would call entertainment an attractive nuisance and they would blame it for anything that went wrong. Today, we did an economic impact study that showed that $4.2 billion is brought into the city between the hours of 9pm and 5am — the other 9 to 5. It also showed that there were 48,000 jobs in the entertainment industry and it paid about $55 million in payroll taxes. Also, we recently did a study on daytime events and found they brought $1.5 billion to the city. So, entertainment is an economic driver in a city whose number 1 industry is tourism. \u003c/p>\n\u003cp>In addition, over the last few years, there’s been about 200 and change tech companies that have come into the city whose employees are the millennials. If you want to service your population, then you have to give them what they need, and I’m not necessarily talking about Whole Foods. You’ve got to give them entertainment because that’s what these young people do until they stopped being young. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think the city recognized that entertainment is a thriving and important aspect of the general economy. Since that time, the city has instituted lots of policies that protect nightlife, such as legacy clubs. Also, Supervisor London Breed’s legislation passed that states that encroaching housing developments cannot negatively impact local entertainment. Entertainment in the city is valued and is even doing studies on nighttime public transportation to not only service those going out, but the people who work in these venues. The city is now in real support of entertainment. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10917152/veteran-club-promoter-running-new-venue-in-kink-coms-armory",
"authors": [
"93"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596",
"arts_989"
],
"featImg": "arts_10917233",
"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": 3432,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3759,
"relation": "eq"
},
"items": [
"arts_10933932",
"arts_10932463",
"arts_10933772",
"news_10659934",
"news_10647076",
"news_10665724",
"arts_10922430",
"arts_10927051",
"arts_10926144",
"arts_10919734",
"arts_10918964",
"arts_10917152"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_news": {
"isLoading": true
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_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_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_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_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
},
"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_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_457": {
"type": "terms",
"id": "news_457",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "457",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Health",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Health Archives | KQED News",
"ogDescription": null
},
"ttid": 16998,
"slug": "health",
"isLoading": false,
"link": "/news/category/health"
},
"news_248": {
"type": "terms",
"id": "news_248",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "248",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Technology",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Technology Archives | KQED News",
"ogDescription": null
},
"ttid": 256,
"slug": "technology",
"isLoading": false,
"link": "/news/category/technology"
},
"news_29274": {
"type": "terms",
"id": "news_29274",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "29274",
"found": true
},
"relationships": {},
"featImg": null,
"name": "LITDA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "LITDA Archives | KQED News",
"ogDescription": null
},
"ttid": 29291,
"slug": "litda",
"isLoading": false,
"link": "/news/tag/litda"
},
"news_3136": {
"type": "terms",
"id": "news_3136",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "3136",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sex",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sex Archives | KQED News",
"ogDescription": null
},
"ttid": 3154,
"slug": "sex",
"isLoading": false,
"link": "/news/tag/sex"
},
"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_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_18143": {
"type": "terms",
"id": "news_18143",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "18143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "family",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "family Archives | KQED News",
"ogDescription": null
},
"ttid": 18177,
"slug": "family",
"isLoading": false,
"link": "/news/tag/family"
},
"news_2403": {
"type": "terms",
"id": "news_2403",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "2403",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mexico",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mexico Archives | KQED News",
"ogDescription": null
},
"ttid": 2418,
"slug": "mexico",
"isLoading": false,
"link": "/news/tag/mexico"
},
"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_129": {
"type": "terms",
"id": "news_129",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "129",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED News",
"ogDescription": null
},
"ttid": 133,
"slug": "berkeley",
"isLoading": false,
"link": "/news/tag/berkeley"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_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_973": {
"type": "terms",
"id": "arts_973",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "973",
"found": true
},
"relationships": {},
"featImg": null,
"name": "science",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "science Archives | KQED Arts",
"ogDescription": null
},
"ttid": 991,
"slug": "science",
"isLoading": false,
"link": "/arts/tag/science"
},
"arts_1310": {
"type": "terms",
"id": "arts_1310",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1310",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Art in the Open",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Art in the Open Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1322,
"slug": "art-in-the-open",
"isLoading": false,
"link": "/arts/tag/art-in-the-open"
},
"arts_1007": {
"type": "terms",
"id": "arts_1007",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1007",
"found": true
},
"relationships": {},
"featImg": null,
"name": "video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1024,
"slug": "video",
"isLoading": false,
"link": "/arts/tag/video"
},
"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_989": {
"type": "terms",
"id": "arts_989",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "989",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Q&A",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Q&A Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1007,
"slug": "qa",
"isLoading": false,
"link": "/arts/tag/qa"
}
},
"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": {}
}
}
}