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_10878213": {
"type": "attachments",
"id": "arts_10878213",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10878213",
"found": true
},
"parent": 10878045,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/OLMain-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/OLMain-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/OLMain-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/OLMain-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/OLMain.jpg",
"width": 1100,
"height": 619
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/OLMain-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/OLMain-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/OLMain-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/OLMain-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/OLMain-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/OLMain-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1438724458,
"modified": 1438724562,
"caption": "Spoiler alert: The M.a.a.d. City beats the Rubber City in our Outside Lands matchup.",
"description": "Spoiler alert: The M.a.a.d. City beats the Rubber City in our Outside Lands matchup.",
"title": "OLMain",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10876129": {
"type": "attachments",
"id": "arts_10876129",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10876129",
"found": true
},
"parent": 10876123,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ViracochaMAIN1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ViracochaMAIN1-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ViracochaMAIN1-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ViracochaMAIN1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ViracochaMAIN1.jpg",
"width": 1100,
"height": 619
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ViracochaMAIN1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ViracochaMAIN1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ViracochaMAIN1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ViracochaMAIN1-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ViracochaMAIN1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/08/ViracochaMAIN1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1438628872,
"modified": 1438645705,
"caption": "The stage at Viracocha. A meeting tonight (Aug. 3) will determine the future of the beloved basement performance space in the Mission District. (Photo: Viracocha Facebook)",
"description": "The stage at Viracocha. A meeting tonight (Aug. 2) will determine the future of the beloved basement performance space in the Mission District. (Photo: Viracocha Facebook)",
"title": "ViracochaMAIN1",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10863795": {
"type": "attachments",
"id": "arts_10863795",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10863795",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_4437-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_4437-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_4437-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_4437-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_4437.jpg",
"width": 5184,
"height": 3456
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_4437-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_4437-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_4437-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_4437-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_4437-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_4437-1400x933.jpg",
"width": 1400,
"mimeType": "image/jpeg",
"height": 933
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_4437-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_4437-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_4437-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1438044878,
"modified": 1438123216,
"caption": null,
"description": null,
"title": "IMG_4437",
"credit": "Photo: Jessica Placzek/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10620369": {
"type": "attachments",
"id": "news_10620369",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10620369",
"found": true
},
"parent": 10618809,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16158_EteciaBrown-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16158_EteciaBrown-qut-400x254.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 254
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16158_EteciaBrown-qut-960x609.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 609
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16158_EteciaBrown-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16158_EteciaBrown-qut.jpg",
"width": 1920,
"height": 1218
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16158_EteciaBrown-qut-1440x914.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 914
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16158_EteciaBrown-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16158_EteciaBrown-qut-800x508.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 508
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16158_EteciaBrown-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16158_EteciaBrown-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16158_EteciaBrown-qut-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16158_EteciaBrown-qut-1920x1218.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1218
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16158_EteciaBrown-qut-1180x749.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 749
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16158_EteciaBrown-qut-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16158_EteciaBrown-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1438145267,
"modified": 1438204265,
"caption": "Etecia Brown, 25, is one of the organizers of the Black Love Festival and a fourth-generation Bayview-Hunters Point native. ",
"description": null,
"title": "RS16158_EteciaBrown-qut",
"credit": "Natalie Yemenidjian/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10865481": {
"type": "attachments",
"id": "arts_10865481",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10865481",
"found": true
},
"parent": 10865389,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/CorsonWeb-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/CorsonWeb-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/CorsonWeb.jpg",
"width": 900,
"height": 506
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/CorsonWeb-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/CorsonWeb-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/CorsonWeb-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/CorsonWeb-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/CorsonWeb-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/CorsonWeb-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1438121871,
"modified": 1438122090,
"caption": "Dan Corson, 'Shifting Topographies,' a project by Oakland's Public Art Program at entrance to 19th Street BART. (Photo: Dan Corson, City of Oakland)",
"description": null,
"title": "CorsonWeb",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10858379": {
"type": "attachments",
"id": "arts_10858379",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10858379",
"found": true
},
"parent": 10858301,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RS12190_dragon-long-1038x576.jpeg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RS12190_dragon-long-400x266.jpeg",
"width": 400,
"mimeType": "image/jpeg",
"height": 266
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RS12190_dragon-long-960x639.jpeg",
"width": 960,
"mimeType": "image/jpeg",
"height": 639
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RS12190_dragon-long-672x372.jpeg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RS12190_dragon-long.jpeg",
"width": 4256,
"height": 2832
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RS12190_dragon-long-1180x785.jpeg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 785
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RS12190_dragon-long-96x96.jpeg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RS12190_dragon-long-800x532.jpeg",
"width": 800,
"mimeType": "image/jpeg",
"height": 532
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RS12190_dragon-long-64x64.jpeg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RS12190_dragon-long-32x32.jpeg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RS12190_dragon-long-1400x932.jpeg",
"width": 1400,
"mimeType": "image/jpeg",
"height": 932
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RS12190_dragon-long-1180x785.jpeg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 785
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RS12190_dragon-long-75x75.jpeg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RS12190_dragon-long-128x128.jpeg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1437772925,
"modified": 1437772981,
"caption": "Ai Weiwei's exhibit on Alcatraz that ended this year drew nearly 900,000 visitors.",
"description": null,
"title": "RS12190_dragon long",
"credit": "Monica Lam/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10614433": {
"type": "attachments",
"id": "news_10614433",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10614433",
"found": true
},
"parent": 10614426,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/berryessafire-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/berryessafire-400x247.png",
"width": 400,
"mimeType": "image/png",
"height": 247
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/berryessafire-960x594.png",
"width": 960,
"mimeType": "image/png",
"height": 594
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/berryessafire-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/berryessafire.png",
"width": 1744,
"height": 1079
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/berryessafire-1440x891.png",
"width": 1440,
"mimeType": "image/png",
"height": 891
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/berryessafire-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/berryessafire-800x495.png",
"width": 800,
"mimeType": "image/png",
"height": 495
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/berryessafire-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/berryessafire-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/berryessafire-280x150.png",
"width": 280,
"mimeType": "image/png",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/berryessafire-1400x866.png",
"width": 1400,
"mimeType": "image/png",
"height": 866
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/berryessafire-1180x730.png",
"width": 1180,
"mimeType": "image/png",
"height": 730
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/berryessafire-75x75.png",
"width": 75,
"mimeType": "image/png",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/berryessafire-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
}
},
"publishDate": 1437772631,
"modified": 1437772746,
"caption": "The title image for Justin Majeczky's timelapse of the Wragg Fire, near Lake Berryessa. ",
"description": null,
"title": "Berryessa-Wragg Fire",
"credit": "\u003ca href=\"https://vimeo.com/134351601\" target=\"_blank\">Varient3.com\u003c/a>",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10856059": {
"type": "attachments",
"id": "arts_10856059",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10856059",
"found": true
},
"parent": 10856058,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Don-joyce-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Don-joyce-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Don-joyce.jpg",
"width": 886,
"height": 498
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Don-joyce-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Don-joyce-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Don-joyce-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Don-joyce-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Don-joyce-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Don-joyce-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1437675980,
"modified": 1437680422,
"caption": "Don Joyce recording his show 'Over the Edge' on KPFA. (Photo courtesy of Negativland)",
"description": "Don Joyce recording his show 'Over the Edge' on KPFA. (Photo courtesy of Negativland)",
"title": "Don joyce",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10826873": {
"type": "attachments",
"id": "arts_10826873",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10826873",
"found": true
},
"parent": 10826872,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TreasureIslandCover-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TreasureIslandCover-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TreasureIslandCover-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TreasureIslandCover-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TreasureIslandCover.jpg",
"width": 1152,
"height": 648
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TreasureIslandCover-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TreasureIslandCover-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TreasureIslandCover-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TreasureIslandCover-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TreasureIslandCover-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TreasureIslandCover-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1436396542,
"modified": 1436398473,
"caption": "Rendering from 'Treasure Island and Yerba Buena Island Design for Development' (Photo: Treasure Island Development Authority)",
"description": null,
"title": "TreasureIslandCover",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10850266": {
"type": "attachments",
"id": "arts_10850266",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10850266",
"found": true
},
"parent": 10849984,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/MatildaTour0023r_resized-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/MatildaTour0023r_resized-400x261.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 261
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/MatildaTour0023r_resized-960x627.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 627
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/MatildaTour0023r_resized-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/MatildaTour0023r_resized.jpg",
"width": 2892,
"height": 1888
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/MatildaTour0023r_resized-1180x770.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 770
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/MatildaTour0023r_resized-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/MatildaTour0023r_resized-800x522.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 522
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/MatildaTour0023r_resized-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/MatildaTour0023r_resized-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/MatildaTour0023r_resized-1400x914.jpg",
"width": 1400,
"mimeType": "image/jpeg",
"height": 914
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/MatildaTour0023r_resized-1180x770.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 770
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/MatildaTour0023r_resized-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/MatildaTour0023r_resized-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1437427026,
"modified": 1437427145,
"caption": "A scene from the national tour of 'Matilda the Musical'\n",
"description": null,
"title": "MatildaTour0023r_resized",
"credit": "Photo: Joan Marcus/SHN",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10840195": {
"type": "attachments",
"id": "arts_10840195",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10840195",
"found": true
},
"parent": 10840187,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/5J2A8128-Foto-by-Pak-Han-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/5J2A8128-Foto-by-Pak-Han-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/5J2A8128-Foto-by-Pak-Han-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/5J2A8128-Foto-by-Pak-Han-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/5J2A8128-Foto-by-Pak-Han-e1437416044874.jpg",
"width": 800,
"height": 533
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/5J2A8128-Foto-by-Pak-Han-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/5J2A8128-Foto-by-Pak-Han-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/5J2A8128-Foto-by-Pak-Han-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/5J2A8128-Foto-by-Pak-Han-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/5J2A8128-Foto-by-Pak-Han-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/5J2A8128-Foto-by-Pak-Han-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/5J2A8128-Foto-by-Pak-Han-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/5J2A8128-Foto-by-Pak-Han-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1436997742,
"modified": 1437340660,
"caption": "Shinichi Iova-Koga and Yuko Kaseki, in \"95 Rituals.\" (Photo by Pak Han)",
"description": null,
"title": "95 Rituals",
"credit": "Pak Han",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10605078": {
"type": "attachments",
"id": "news_10605078",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10605078",
"found": true
},
"parent": 10603541,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/ADS2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/ADS2-400x382.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 382
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/ADS2-960x917.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 917
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/ADS2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/ADS2.jpg",
"width": 1920,
"height": 1833
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/ADS2-1440x1375.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 1375
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/ADS2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/ADS2-800x764.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 764
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/ADS2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/ADS2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/ADS2-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/ADS2-1400x1337.jpg",
"width": 1400,
"mimeType": "image/jpeg",
"height": 1337
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/ADS2-1180x1127.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 1127
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/ADS2-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/07/ADS2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1437182106,
"modified": 1437182127,
"caption": "Anna Deavere Smith portrays India Sledge, a student from West Baltimore, in \"Notes from the Field: Doing Time in Education, The California Chapter.\"",
"description": "Anna Deavere Smith portrays India Sledge, a student from West Baltimore, in \"Notes from the Field: Doing Time in Education, The California Chapter.\"",
"title": "ADS2",
"credit": "Kevin Berne/Berkeley Rep",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"cmusiker": {
"type": "authors",
"id": "32",
"meta": {
"index": "authors_1716337520",
"id": "32",
"found": true
},
"name": "Cy Musiker",
"firstName": "Cy",
"lastName": "Musiker",
"slug": "cmusiker",
"email": "cmusiker@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Cy Musiker is a former co-host of The Do List and a former reporter covering the arts for KQED News and The California Report. He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.",
"avatar": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cy Musiker | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmusiker"
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"aeghan": {
"type": "authors",
"id": "195",
"meta": {
"index": "authors_1716337520",
"id": "195",
"found": true
},
"name": "Adizah Eghan",
"firstName": "Adizah",
"lastName": "Eghan",
"slug": "aeghan",
"email": "adizah.e@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Adizah Eghan is a former reporter at KQED News and writer for KQED Arts. She caught the radio bug as an intern for PRI's The World and landed in KQED's newsroom after a stint teaching English in India. She covers culture, the arts, and global music in the Bay Area. This is where she tweets: \u003ca class=\"ProfileHeaderCard-screennameLink u-linkComplex js-nav\" style=\"color: #8899a6;\" href=\"https://twitter.com/Adizah_E\">@\u003cspan class=\"u-linkComplex-target\">Adizah_E\u003c/span>\u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/d6e30ed9ca504243b4d8ee5d7ca32324?s=600&d=blank&r=g",
"twitter": "Adizah_E",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "stateofhealth",
"roles": [
"author"
]
}
],
"headData": {
"title": "Adizah Eghan | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d6e30ed9ca504243b4d8ee5d7ca32324?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d6e30ed9ca504243b4d8ee5d7ca32324?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/aeghan"
},
"danbrekke": {
"type": "authors",
"id": "222",
"meta": {
"index": "authors_1716337520",
"id": "222",
"found": true
},
"name": "Dan Brekke",
"firstName": "Dan",
"lastName": "Brekke",
"slug": "danbrekke",
"email": "dbrekke@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news",
"science"
],
"title": "KQED Editor and Reporter",
"bio": "Dan Brekke is a reporter and editor for KQED News, responsible for coverage of topics ranging from California water issues to the Bay Area's transportation challenges. In a newsroom career that began in Chicago in 1972, Dan has worked for \u003cem>The San Francisco Examiner,\u003c/em> Wired and TechTV and has been published in The New York Times, The New York Times Magazine, Business 2.0, Salon and elsewhere.\r\n\r\nSince joining KQED in 2007, Dan has reported, edited and produced both radio and online features and breaking news pieces. He has shared as both editor and reporter in four Society of Professional Journalists Norcal Excellence in Journalism awards and one Edward R. Murrow regional award. He was chosen for a spring 2017 residency at the Mesa Refuge to advance his research on California salmon.\r\n\r\nEmail Dan at: \u003ca href=\"mailto:dbrekke@kqed.org\">dbrekke@kqed.org\u003c/a>\r\n\r\n\u003cstrong>Twitter:\u003c/strong> \u003ca href=\"https://twitter.com/danbrekke\" rel=\"noopener noreferrer\">twitter.com/danbrekke\u003c/a>\r\n\u003cstrong>Facebook:\u003c/strong> \u003ca href=\"https://www.facebook.com/danbrekke\" rel=\"noopener noreferrer\">www.facebook.com/danbrekke\u003c/a>\r\n\u003cstrong>LinkedIn:\u003c/strong> \u003ca href=\"https://www.linkedin.com/in/danbrekke\" rel=\"noopener noreferrer\">www.linkedin.com/in/danbrekke\u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/8f1f0d2a978fb3b23426c922c7e2af558fa36905b49c4ce76a97dc3c72d27226?s=600&d=mm&r=g",
"twitter": "danbrekke",
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/dan.brekke/",
"linkedin": "https://www.linkedin.com/in/danbrekke/",
"sites": [
{
"site": "news",
"roles": [
"administrator",
"create_posts"
]
},
{
"site": "stateofhealth",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "quest",
"roles": [
"contributor"
]
},
{
"site": "food",
"roles": [
"contributor"
]
},
{
"site": "forum",
"roles": [
"contributor"
]
},
{
"site": "elections",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Dan Brekke | KQED",
"description": "KQED Editor and Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/8f1f0d2a978fb3b23426c922c7e2af558fa36905b49c4ce76a97dc3c72d27226?s=600&d=mm&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/8f1f0d2a978fb3b23426c922c7e2af558fa36905b49c4ce76a97dc3c72d27226?s=600&d=mm&r=g"
},
"isLoading": false,
"link": "/author/danbrekke"
},
"katsnow": {
"type": "authors",
"id": "235",
"meta": {
"index": "authors_1716337520",
"id": "235",
"found": true
},
"name": "Katrin Snow",
"firstName": "Katrin",
"lastName": "Snow",
"slug": "katsnow",
"email": "ksnow@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"science"
],
"title": "Senior Editor",
"bio": "Kat started in radio in 1985 at KMUN in Astoria, Oregon, where the Columbia River meets the sea. She worked several years protecting monarch butterfly habitat in California with the Xerces Society, an invertebrate conservation organization, before a love for radio news drew her back into journalism. Kat came to KQED in 2002, and before that was a reporter and news director at KUER in Salt Lake City, covering the state legislature, the environment and health. Kat coaches reporters and others in embodied narration and public speaking. She is a certified teacher of Soul Motion®, a conscious dance practice, and can sometimes be found in the Mojave desert or the Eastern Sierra.",
"avatar": "https://secure.gravatar.com/avatar/fa6bf8a74a2692973a5484e64ebd2b52?s=600&d=blank&r=g",
"twitter": "cosmologicalkat",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "futureofyou",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Katrin Snow | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/fa6bf8a74a2692973a5484e64ebd2b52?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/fa6bf8a74a2692973a5484e64ebd2b52?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/katsnow"
},
"ekelly": {
"type": "authors",
"id": "3211",
"meta": {
"index": "authors_1716337520",
"id": "3211",
"found": true
},
"name": "Erika Kelly",
"firstName": "Erika",
"lastName": "Kelly",
"slug": "ekelly",
"email": "ekelly@KQED.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Deputy Managing Editor",
"bio": "Erika Kelly is deputy managing editor of KQED's newsroom, working with teams covering housing, climate, health, labor and the arts. Previously, she was the senior editor of KQED’s housing affordability desk, leading the team that produced the award winning podcast Sold Out: Rethinking Housing in America. She is a graduate of the Medill School of Journalism and a native of the Greater Chicagoland Area.",
"avatar": "https://secure.gravatar.com/avatar/3653973f475e2af06d52444628a0023a48f83905a9d7ce3a4e45e5ecebcb4230?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"administrator"
]
},
{
"site": "science",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"administrator"
]
}
],
"headData": {
"title": "Erika Kelly | KQED",
"description": "Deputy Managing Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/3653973f475e2af06d52444628a0023a48f83905a9d7ce3a4e45e5ecebcb4230?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3653973f475e2af06d52444628a0023a48f83905a9d7ce3a4e45e5ecebcb4230?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ekelly"
},
"dkatayama": {
"type": "authors",
"id": "7240",
"meta": {
"index": "authors_1716337520",
"id": "7240",
"found": true
},
"name": "Devin Katayama",
"firstName": "Devin",
"lastName": "Katayama",
"slug": "dkatayama",
"email": "dkatayama@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Editor of Talent and Development",
"bio": "Devin Katayama is former Editor of Talent and Development for KQED. He supported our internship program and on-call staff by looking for equitable opportunities to improve the newsroom.\r\n\r\nHe previously hosted The Bay and American Suburb podcasts from KQED News. Prior to returning to the Bay Area in 2015, Devin was the education reporter for WFPL in Louisville and worked as a producer with radio stations in Chicago and Portland, OR. His work has appeared on NPR’s \u003cem>Morning Edition, All Things Considered, The Takeaway\u003c/em> and \u003cem>Here and Now.\u003c/em>\r\n\r\nDevin earned his MA in Journalism from Columbia College Chicago, where he was a Follett Fellow and the recipient of the 2011 Studs Terkel Community Media Workshop Scholarship for his story on Chicago's homeless youth. He won WBUR's 2014 Daniel Schorr award and a regional RTNDA Edward R. Murrow Award for his documentary \"At Risk\" that looked at issues facing some of Louisville's students. Devin has also received numerous local awards from the Associated Press and the Society of Professional Journalists.",
"avatar": "https://secure.gravatar.com/avatar/d0d2978a31002fb2de107921a8e18405?s=600&d=blank&r=g",
"twitter": "RadioDevin",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "stateofhealth",
"roles": [
"author"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "perspectives",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Devin Katayama | KQED",
"description": "Editor of Talent and Development",
"ogImgSrc": "https://secure.gravatar.com/avatar/d0d2978a31002fb2de107921a8e18405?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d0d2978a31002fb2de107921a8e18405?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/dkatayama"
},
"jplaczek": {
"type": "authors",
"id": "8606",
"meta": {
"index": "authors_1716337520",
"id": "8606",
"found": true
},
"name": "Jessica Placzek",
"firstName": "Jessica",
"lastName": "Placzek",
"slug": "jplaczek",
"email": "jessicalplaczek@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"news"
],
"title": "KQED Contributor",
"bio": "Jessica Placzek is a former senior editor of podcasts at KQED where she served as the editorial lead of the podcast department. She worked with shows like MindShift, Rightnowish, Consider This, SOLD OUT, Bay Curious and The Bay. She’s also been a reporter and audio producer at KQED, KPFA, and KALW. She taught audio production to men incarcerated at California State Prison Solano and edited pieces they produced for the Uncuffed podcast through KALW. In 2018 she co-hosted and produced the third season of Raw Material for SFMOMA. In New Orleans she wrote for the Nola Defender. Her work has also appeared on Marketplace, All Things Considered, The California Report, and Vice. You can find more at jessicaplaczek.com",
"avatar": "https://secure.gravatar.com/avatar/5ead103b5880f672eceb84ce75eecd1b4b6f74a47edc457684a73ad5b8b158e9?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "stateofhealth",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Jessica Placzek | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/5ead103b5880f672eceb84ce75eecd1b4b6f74a47edc457684a73ad5b8b158e9?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5ead103b5880f672eceb84ce75eecd1b4b6f74a47edc457684a73ad5b8b158e9?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jplaczek"
},
"kchun": {
"type": "authors",
"id": "8607",
"meta": {
"index": "authors_1716337520",
"id": "8607",
"found": true
},
"name": "Kimberly Chun",
"firstName": "Kimberly",
"lastName": "Chun",
"slug": "kchun",
"email": "kimberlychun@sbcglobal.net",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/b39b27570fb335eb475103a73c05045d?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Kimberly Chun | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/b39b27570fb335eb475103a73c05045d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/b39b27570fb335eb475103a73c05045d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kchun"
}
},
"pagesReducer": {
"arts_category_news": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"score": 10.81563
},
"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": 290
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=news",
"seeMore": false,
"paginated": true,
"page": 290
}
},
{
"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_10878045": {
"type": "posts",
"id": "arts_10878045",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10878045",
"score": null,
"sort": [
1438727410000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1438727410,
"format": "standard",
"title": "Which Band Would Win in a Fight? An Outside Lands Conflict Primer",
"headTitle": "Which Band Would Win in a Fight? An Outside Lands Conflict Primer | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Outside Lands\u003c/h2>\n\u003cdiv class=\"event-desc\">The gigantic three-day music festival returns.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7–9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Golden Gate Park\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details and information\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Getting into Outside Lands is no big trick — after all, tickets are still up for the taking on the secondhand market. But once inside, how might a gentle music lover avoid missing out on the best of the fest and duck that pesky case of \u003ca href=\"https://en.wikipedia.org/wiki/Fear_of_missing_out\" target=\"_blank\" rel=\"noopener\">FoMO\u003c/a>? Don’t get lost in a fog of indecision, stumble on the sprawling schedule with its five competing stages, and fall into a gopher hole of coulda, shoulda, woulda.\u003c/p>\n\u003cp>Instead, save yourself the hassle of wandering listlessly from stage to stage like a dissatisfied, bleary, beer-logged buffalo. Enjoy the fact that you will bear witness to some amazing must-see performers in the most beauteous, green \u003cem>and\u003c/em> urban setting around. And absorb these solutions to some of the roughest schedule conflicts at Outside Lands.\u003c/p>\n\u003ch2>Friday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878223\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg\" alt=\"OLLeonBridges\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Lake Street Dive vs. Leon Bridges vs. Robert DeLong\u003c/strong>\u003cbr>\nWhich of these three things don’t belong? DeLong pops out here, with melodic, thumping synth washes and epic electronic beats. Consider him a kind of hook-laden Skrillex with a similar indie rock background and taste for high-wire drops. So the real tossup is between the snappy, pitch-perfect ’60s-style R&B of the buzzy Fort Worth, Texas, singer-songwriter Leon Bridges and the powerhouse soul vocals of Rachael Price and her minimal indie band, Lake Street Dive, known for its cover of the Jackson 5’s “I Want You Back.” This one goes to Bridges, a multitalented choreographer and dancer who decimated South by Southwest audiences and even took home a prize this year for his thoroughly throwback Sam Cooke-like vision.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg\" alt=\"OLStVincent\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>St. Vincent vs. Alvvays vs. Glass Animals \u003c/strong>\u003cbr>\nSorry, but is there a real conflict here between St. Vincent and Alvvays? Even if the breed of experimental/arty indie pop purveyed by the Grammy-winning St. Vincent, a.k.a. Annie Clark, chafes your hide in the same way, say, David Byrne’s does, you know that live, she’ll alvvays, I mean, \u003cem>always\u003c/em> provide plenty of musical intrigue, guitar heroics, and forthright food for thought (also is she or isn’t she still dating supermodel/actress Cara Delevingne?). That’s in contrast to the simple and guileless joys of the Toronto combo Alvvays’ dulcet lo-fi. Perhaps more formidable competition for St. Vincent’s Clark is Oxford, England, ensemble Glass Animals, which come off like a blended family of airy R&B, knob-twirling indie, and echo-happy dubstep. So let’s agree that St. Vincent reigns, then rush over to Glass Animals to see if they’re breakout or just plain breakable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878225\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg\" alt=\"OLDangelo\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>D’Angelo vs. Mumford and Sons vs. Iration vs. Amon Tobin\u003c/strong>\u003cbr>\nThis is a little like comparing apples and oranges — and a tres leches cupcake and a fried cricket taco. Meaning, I can’t even. Just don’t hurt yourself fretting about whether you \u003cem>must\u003c/em> check out the popular, pleasant, and very earnest folk-rock gents of Mumford and Sons, catch the Jawaiian-by-way-of-Santa Barbara reggae-rockers of Iration, or swing by R&B’s comeback kid D’Angelo. D’Angelo is the clear winner. After finding success at the turn of the century as the bare-chested beefcake of “Untitled (How Does It Feel)” off \u003cem>Voodoo\u003c/em> and dealing with substance abuse, death, car crackups, rehab, and fat-shaming, the singer-songwriter returned late last year with the inspired, universally acclaimed and Pazz & Jop poll-topping \u003cem>Black Messiah\u003c/em>. Praise be. Follow his set up with the evening’s only other real competitor, Brazil native and Marin County forest dweller Amon Tobin, who gives his dazzling \u003cem>ISAM\u003c/em> 2.0 production a final spin before he moves on.\u003c/p>\n\u003ch2>Saturday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878216\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg\" alt=\"OLToroyMoi\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Toro Y Moi vs. Billy Idol\u003c/strong>\u003cbr>\nWho can resist a nice warm bowl of “Rebel Yell”? The ’80s MTV darling is still flying that punk rock attitude, playing with glory days guitarist Steve Stevens, and praising the \u003cem>Kings & Queens of the Underground\u003c/em> with his most recent 2014 LP. Yet Toro y Moi talent Chaz Bundick makes it easy to get distracted. Some may see the Berkeley bedroom musicmaker, artist, and graphic designer as simply the cornerstone of the so-called chillwave movement. But judging from his Les Sins dance music side gig, never-ending art projects, and his own imprint on Carpark Records, there’s just no putting Bundick in a corner. These days he seems intent on swirling his toe into a sparkling stream of poppy and funky prog rock — witness the new Toro y Moi album, \u003cem>What For?\u003c/em> Afterward, check either Bundick’s pal and DJ-round-town Giraffage or chill further with Deutschland roots-tronica outfit Milky Chance of “Stolen Dance” fame.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878229\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg\" alt=\"OLTameImpala1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Tame Impala vs. G-Eazy\u003c/strong>\u003cbr>\nSo easy. The East Bay-bred, best-dressed hip-hop heartthrob G-Eazy has a penchant for whipping off his well-considered shirts and nibbling at them, like it’s the only way to stem the tide of rhymes. That’s when he’s not rolling with E-40 at Warriors games and being industrious about his next LP, said to be due out later this year. A festival circuiteer like many others on this year’s Outside Lands bill, he’s also a rarity around the Bay these days. But I don’t think that can tempt me from the raw musical ambition of Tame Impala and the Australian psychedelic unit’s lush krautrocky sonic stylings. The group’s third album, \u003cem>Currents\u003c/em>, offers up classic, custard-rich headphone music for an earbud age, skewing delightfully funky at one moment, deliciously Giorgio Moroder at others. Sorry, G — gotta get wild with Tame Impala.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878218\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg\" alt=\"OLKendrick1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Kendrick Lamar vs. the Black Keys\u003c/strong>\u003cbr>\nAkron vs. Compton? Who doesn’t dig the big blast of blues rock that the Black Keys generate on stage? Honestly, though, what have Dan Auerbach and Patrick Carney done for us lately, in terms of moving us past that sound? Last year’s considerably low-key, retro-spooky \u003cem>Turn Blue\u003c/em> didn’t have the same impact. Let’s just say Kendrick Lamar still gets us hot, right here, right now. He’s our \u003cem>Good Kid, M.A.A.D City\u003c/em>, our artful, naturalistic hip-hop diarist skilled at singing the song of himself, conveying the beat of his reality. And that reality keeps expanding. The jazz, and musings, got deeper and grew increasingly urgent with this year’s multilayered next step, \u003cem>To Pimp a Butterfly\u003c/em>. So expect the trees to tremble and the gophers to freak when the flower-crown-, hoodie-, and bootie-bedecked hordes rush Lamar’s Twin Peaks stage.\u003c/p>\n\u003ch2>Sunday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLMetz.jpg\" alt=\"OLMetz\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Metz vs. Allal Las vs. St Paul and the Broken Bones\u003c/strong>\u003cbr>\nPicture this: you’ve just caught SZA, the lady who’s picking up and spinning the ethereal soul thread that FKA Twigs left behind. Where to next? You’re caught between the toned-down psychedelicists of Allah-Las, the old-school soul believers of St. Paul and the Broken Bones, and the loud rockers of Metz. Advice? Mix it up, harsh the overall mellow, and turn up the volume with Metz. The righteously abrasive noise-rock threesome invoke nothing less than classic Jesus Lizard, Shellac, and even NorCal’s late lamented Mayyors, with a cacophonous dollop of Birthday Party thrown in for chaotic measure. “Things fall apart” appears to be the overriding message of careening tunes like “Landfill” off the trio’s latest LP, \u003cem>II\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878221\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg\" alt=\"OLHotChip\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Hot Chip vs. Sky Ferreira vs. Ryn Weaver\u003c/strong>\u003cbr>\nWhat a toss-up. At this point, as the fest begins to wind to a foggy close, the strategizing cog in your noggin starts to shut down. The urge is to go with the flow. Your sweet and sinister Aunt Flo would definitely espouse quirk-folk femtronica songstress Ryn Weaver, an Argentina-born seductress with a taste for high-necked Victorian-style collars, intriguing percussive effects, and pop hooks (see “Octahate”). Flo’s aspiring club-kid offspring Waterfall would undoubtedly pick Sky Ferreira, who’s coming at that pop diva crown from a whole other synthpop angle: Ferreira’s bewitched by drum machines and ’80s soul revivalists and charmingly overshares on social media. But guess what, Hot Chip gets the dip this time around — and not just for the cut of vocalist-guitarist-multi-instrumentalist Alexis Taylor’s mega metallic pantaloons. The English band is bringing sexy, ecstatic acid house back, seasoned with a bracing sprinkle of pulsing krautrock, with its new recording, \u003cem>Why Make Sense?\u003c/em> The worry-free dance party starts here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg\" alt=\"OLEltonJohn\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Elton John vs. Axwell & Ingrosso\u003c/strong>\u003cbr>\nThe temptation is to take your sopping-with-sweat Hot Chipped self straight to Swedish House Mafia spinoff Axwell & Ingrosso (really, this was essentially a way to ice out former Swedish House Mafia cohort Steve Angello, no?). Wedding anthemic hooks to larger-than-life flows readymade for the rave grounds, Axwell & Ingrosso could be an ideal way to bounce out of this year’s Outside Lands. But hold your horses, tiny dancer: Sir Elton John is nothing to scoff at. The 68-year-old pop icon can take as much of his sweet time as he wants between albums — witness 2006’s \u003cem>The Captain & the Kid\u003c/em> and 2013’s \u003cem>The Diving Board\u003c/em> — because he has written just so many remarkable songs. If you’re in luck, you’ll hear some of the biggest hits among them: “Bennie and the Jets,” “Daniel,” “Philadelphia Freedom,” “Rocket Man,” “Sad Songs (Say So Much),” “Crocodile Rock,” “Sorry Seems to be the Hardest Word”… and that’s not even touching more recent \u003cem>Lion King\u003c/em> history. Like a candle in the wind, we flicker toward his light.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1717,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705046641,
"excerpt": "At Outside Lands, numerous which-band-to-see choices abound; thankfully, our ref calls the matchups for you on all five stages.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "At Outside Lands, numerous which-band-to-see choices abound; thankfully, our ref calls the matchups for you on all five stages.",
"title": "Which Band Would Win in a Fight? An Outside Lands Conflict Primer | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Which Band Would Win in a Fight? An Outside Lands Conflict Primer",
"datePublished": "2015-08-04T15:30:10-07:00",
"dateModified": "2024-01-12T00:04:01-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "outside-lands-fighting-championship",
"status": "publish",
"sticky": false,
"path": "/arts/10878045/outside-lands-fighting-championship",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Outside Lands\u003c/h2>\n\u003cdiv class=\"event-desc\">The gigantic three-day music festival returns.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7–9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Golden Gate Park\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details and information\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Getting into Outside Lands is no big trick — after all, tickets are still up for the taking on the secondhand market. But once inside, how might a gentle music lover avoid missing out on the best of the fest and duck that pesky case of \u003ca href=\"https://en.wikipedia.org/wiki/Fear_of_missing_out\" target=\"_blank\" rel=\"noopener\">FoMO\u003c/a>? Don’t get lost in a fog of indecision, stumble on the sprawling schedule with its five competing stages, and fall into a gopher hole of coulda, shoulda, woulda.\u003c/p>\n\u003cp>Instead, save yourself the hassle of wandering listlessly from stage to stage like a dissatisfied, bleary, beer-logged buffalo. Enjoy the fact that you will bear witness to some amazing must-see performers in the most beauteous, green \u003cem>and\u003c/em> urban setting around. And absorb these solutions to some of the roughest schedule conflicts at Outside Lands.\u003c/p>\n\u003ch2>Friday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878223\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg\" alt=\"OLLeonBridges\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Lake Street Dive vs. Leon Bridges vs. Robert DeLong\u003c/strong>\u003cbr>\nWhich of these three things don’t belong? DeLong pops out here, with melodic, thumping synth washes and epic electronic beats. Consider him a kind of hook-laden Skrillex with a similar indie rock background and taste for high-wire drops. So the real tossup is between the snappy, pitch-perfect ’60s-style R&B of the buzzy Fort Worth, Texas, singer-songwriter Leon Bridges and the powerhouse soul vocals of Rachael Price and her minimal indie band, Lake Street Dive, known for its cover of the Jackson 5’s “I Want You Back.” This one goes to Bridges, a multitalented choreographer and dancer who decimated South by Southwest audiences and even took home a prize this year for his thoroughly throwback Sam Cooke-like vision.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg\" alt=\"OLStVincent\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>St. Vincent vs. Alvvays vs. Glass Animals \u003c/strong>\u003cbr>\nSorry, but is there a real conflict here between St. Vincent and Alvvays? Even if the breed of experimental/arty indie pop purveyed by the Grammy-winning St. Vincent, a.k.a. Annie Clark, chafes your hide in the same way, say, David Byrne’s does, you know that live, she’ll alvvays, I mean, \u003cem>always\u003c/em> provide plenty of musical intrigue, guitar heroics, and forthright food for thought (also is she or isn’t she still dating supermodel/actress Cara Delevingne?). That’s in contrast to the simple and guileless joys of the Toronto combo Alvvays’ dulcet lo-fi. Perhaps more formidable competition for St. Vincent’s Clark is Oxford, England, ensemble Glass Animals, which come off like a blended family of airy R&B, knob-twirling indie, and echo-happy dubstep. So let’s agree that St. Vincent reigns, then rush over to Glass Animals to see if they’re breakout or just plain breakable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878225\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg\" alt=\"OLDangelo\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>D’Angelo vs. Mumford and Sons vs. Iration vs. Amon Tobin\u003c/strong>\u003cbr>\nThis is a little like comparing apples and oranges — and a tres leches cupcake and a fried cricket taco. Meaning, I can’t even. Just don’t hurt yourself fretting about whether you \u003cem>must\u003c/em> check out the popular, pleasant, and very earnest folk-rock gents of Mumford and Sons, catch the Jawaiian-by-way-of-Santa Barbara reggae-rockers of Iration, or swing by R&B’s comeback kid D’Angelo. D’Angelo is the clear winner. After finding success at the turn of the century as the bare-chested beefcake of “Untitled (How Does It Feel)” off \u003cem>Voodoo\u003c/em> and dealing with substance abuse, death, car crackups, rehab, and fat-shaming, the singer-songwriter returned late last year with the inspired, universally acclaimed and Pazz & Jop poll-topping \u003cem>Black Messiah\u003c/em>. Praise be. Follow his set up with the evening’s only other real competitor, Brazil native and Marin County forest dweller Amon Tobin, who gives his dazzling \u003cem>ISAM\u003c/em> 2.0 production a final spin before he moves on.\u003c/p>\n\u003ch2>Saturday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878216\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg\" alt=\"OLToroyMoi\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Toro Y Moi vs. Billy Idol\u003c/strong>\u003cbr>\nWho can resist a nice warm bowl of “Rebel Yell”? The ’80s MTV darling is still flying that punk rock attitude, playing with glory days guitarist Steve Stevens, and praising the \u003cem>Kings & Queens of the Underground\u003c/em> with his most recent 2014 LP. Yet Toro y Moi talent Chaz Bundick makes it easy to get distracted. Some may see the Berkeley bedroom musicmaker, artist, and graphic designer as simply the cornerstone of the so-called chillwave movement. But judging from his Les Sins dance music side gig, never-ending art projects, and his own imprint on Carpark Records, there’s just no putting Bundick in a corner. These days he seems intent on swirling his toe into a sparkling stream of poppy and funky prog rock — witness the new Toro y Moi album, \u003cem>What For?\u003c/em> Afterward, check either Bundick’s pal and DJ-round-town Giraffage or chill further with Deutschland roots-tronica outfit Milky Chance of “Stolen Dance” fame.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878229\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg\" alt=\"OLTameImpala1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Tame Impala vs. G-Eazy\u003c/strong>\u003cbr>\nSo easy. The East Bay-bred, best-dressed hip-hop heartthrob G-Eazy has a penchant for whipping off his well-considered shirts and nibbling at them, like it’s the only way to stem the tide of rhymes. That’s when he’s not rolling with E-40 at Warriors games and being industrious about his next LP, said to be due out later this year. A festival circuiteer like many others on this year’s Outside Lands bill, he’s also a rarity around the Bay these days. But I don’t think that can tempt me from the raw musical ambition of Tame Impala and the Australian psychedelic unit’s lush krautrocky sonic stylings. The group’s third album, \u003cem>Currents\u003c/em>, offers up classic, custard-rich headphone music for an earbud age, skewing delightfully funky at one moment, deliciously Giorgio Moroder at others. Sorry, G — gotta get wild with Tame Impala.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878218\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg\" alt=\"OLKendrick1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Kendrick Lamar vs. the Black Keys\u003c/strong>\u003cbr>\nAkron vs. Compton? Who doesn’t dig the big blast of blues rock that the Black Keys generate on stage? Honestly, though, what have Dan Auerbach and Patrick Carney done for us lately, in terms of moving us past that sound? Last year’s considerably low-key, retro-spooky \u003cem>Turn Blue\u003c/em> didn’t have the same impact. Let’s just say Kendrick Lamar still gets us hot, right here, right now. He’s our \u003cem>Good Kid, M.A.A.D City\u003c/em>, our artful, naturalistic hip-hop diarist skilled at singing the song of himself, conveying the beat of his reality. And that reality keeps expanding. The jazz, and musings, got deeper and grew increasingly urgent with this year’s multilayered next step, \u003cem>To Pimp a Butterfly\u003c/em>. So expect the trees to tremble and the gophers to freak when the flower-crown-, hoodie-, and bootie-bedecked hordes rush Lamar’s Twin Peaks stage.\u003c/p>\n\u003ch2>Sunday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLMetz.jpg\" alt=\"OLMetz\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Metz vs. Allal Las vs. St Paul and the Broken Bones\u003c/strong>\u003cbr>\nPicture this: you’ve just caught SZA, the lady who’s picking up and spinning the ethereal soul thread that FKA Twigs left behind. Where to next? You’re caught between the toned-down psychedelicists of Allah-Las, the old-school soul believers of St. Paul and the Broken Bones, and the loud rockers of Metz. Advice? Mix it up, harsh the overall mellow, and turn up the volume with Metz. The righteously abrasive noise-rock threesome invoke nothing less than classic Jesus Lizard, Shellac, and even NorCal’s late lamented Mayyors, with a cacophonous dollop of Birthday Party thrown in for chaotic measure. “Things fall apart” appears to be the overriding message of careening tunes like “Landfill” off the trio’s latest LP, \u003cem>II\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878221\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg\" alt=\"OLHotChip\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Hot Chip vs. Sky Ferreira vs. Ryn Weaver\u003c/strong>\u003cbr>\nWhat a toss-up. At this point, as the fest begins to wind to a foggy close, the strategizing cog in your noggin starts to shut down. The urge is to go with the flow. Your sweet and sinister Aunt Flo would definitely espouse quirk-folk femtronica songstress Ryn Weaver, an Argentina-born seductress with a taste for high-necked Victorian-style collars, intriguing percussive effects, and pop hooks (see “Octahate”). Flo’s aspiring club-kid offspring Waterfall would undoubtedly pick Sky Ferreira, who’s coming at that pop diva crown from a whole other synthpop angle: Ferreira’s bewitched by drum machines and ’80s soul revivalists and charmingly overshares on social media. But guess what, Hot Chip gets the dip this time around — and not just for the cut of vocalist-guitarist-multi-instrumentalist Alexis Taylor’s mega metallic pantaloons. The English band is bringing sexy, ecstatic acid house back, seasoned with a bracing sprinkle of pulsing krautrock, with its new recording, \u003cem>Why Make Sense?\u003c/em> The worry-free dance party starts here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg\" alt=\"OLEltonJohn\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Elton John vs. Axwell & Ingrosso\u003c/strong>\u003cbr>\nThe temptation is to take your sopping-with-sweat Hot Chipped self straight to Swedish House Mafia spinoff Axwell & Ingrosso (really, this was essentially a way to ice out former Swedish House Mafia cohort Steve Angello, no?). Wedding anthemic hooks to larger-than-life flows readymade for the rave grounds, Axwell & Ingrosso could be an ideal way to bounce out of this year’s Outside Lands. But hold your horses, tiny dancer: Sir Elton John is nothing to scoff at. The 68-year-old pop icon can take as much of his sweet time as he wants between albums — witness 2006’s \u003cem>The Captain & the Kid\u003c/em> and 2013’s \u003cem>The Diving Board\u003c/em> — because he has written just so many remarkable songs. If you’re in luck, you’ll hear some of the biggest hits among them: “Bennie and the Jets,” “Daniel,” “Philadelphia Freedom,” “Rocket Man,” “Sad Songs (Say So Much),” “Crocodile Rock,” “Sorry Seems to be the Hardest Word”… and that’s not even touching more recent \u003cem>Lion King\u003c/em> history. Like a candle in the wind, we flicker toward his light.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10878045/outside-lands-fighting-championship",
"authors": [
"8607"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1006",
"arts_596",
"arts_626"
],
"featImg": "arts_10878213",
"label": "arts_140"
},
"arts_10876123": {
"type": "posts",
"id": "arts_10876123",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10876123",
"score": null,
"sort": [
1438629049000
]
},
"guestAuthors": [],
"slug": "hey-wacky-millennial-billionaires-heres-your-chance-to-save-a-sf-music-venue",
"title": "Hey Rich Millennials, Here's Your Chance to Save a SF Music Venue",
"publishDate": 1438629049,
"format": "standard",
"headTitle": "Hey Rich Millennials, Here’s Your Chance to Save a SF Music Venue | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Sometimes, all it takes is a good old impulse buy.\u003c/p>\n\u003cp>That seems to be the hope for Viracocha, the antique store-slash-community hub-slash-live music venue in the Mission District that recently \u003ca href=\"http://ww2.kqed.org/arts/2015/07/01/viracocha-mission-district-music-venue-to-close/\" target=\"_blank\" rel=\"noopener\">closed\u003c/a>.\u003c/p>\n\u003cp>According to a post on Viracocha’s Facebook page, a meeting will be held tonight (Monday, Aug. 3), to determine the future of the basement performance space. The post is vague but hopeful; it sounds like the building’s new tenants are willing to keep the basement space open for live music if a partner with funding comes forward.\u003c/p>\n\u003cp>Do you ever scroll Craigslist personals and wonder why the world’s lonleyhearts keep asking for each other online, never to meet up? This is like that. The city’s new tech residents want places for live music, and a \u003ca href=\"http://www.sfweekly.com/sanfrancisco/mission-venue-viracocha-wagers-its-survival-on-going-legit/Content?oid=2828463\" target=\"_blank\" rel=\"noopener\">beloved spot for live music\u003c/a> is asking for investors [cue \u003cem>Fiddler on the Roof\u003c/em>’s “Matchmaker” here].\u003c/p>\n\u003cp>Read the post in full below, then head to the meeting tonight.\u003c/p>\n\u003cblockquote>\u003cp>So as most of you know by now, we have closed Viracocha. Not temporarily, but completely, this time. We begin dismantling and demolition this weekend. However… There is still an opportunity to save the Basement Performance Level, and pass it along to the perspective new tenants. But…. we’ve only got TONIGHT! (Monday, August 3rd)\u003c/p>\n\u003cp>There is a group who wish to save the performance space, and keep it designated for public artistic programming, of all sorts, but the decision to move forward, or ‘call it quits’, needs an answer by the end of this evening.\u003c/p>\n\u003cp>There will be a community meeting at Viracocha, at 7:30 pm. The perspective tenant, will be on hand to describe their vision, and business plan, for what will, hopefully, inhabit 998 Valencia. They have some financial backing, but not enough to do it on their own.\u003c/p>\n\u003cp>If you, or anyone you know, might be interested in investing with them, in an effort to keep another SF art space in existence, this is the time. 7:30PM, Tonight.\u003c/p>\n\u003cp>Please share, and please join us in the discussion.\u003c/p>\n\u003cp>Also… If you’ve questioned why Viracocha is closing, or what prompts us to leave at this particular time..: answers will be provided. We have not spoken with any Reporters, despite the numerous articles that have come out speculating our decision. Remember, just cause words make it to print, doesn’t mean they are true.\u003c/p>\n\u003cp>If you want the full story… all will be explained this evening.\u003c/p>\u003c/blockquote>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "A meeting tonight (Monday, Aug. 2) will determine the future of Viracocha's beloved basement performance space in the Mission District.",
"status": "publish",
"parent": 0,
"modified": 1726700928,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 431
},
"headData": {
"title": "Hey Rich Millennials, Here's Your Chance to Save a SF Music Venue | KQED",
"description": "A meeting tonight (Monday, Aug. 2) will determine the future of Viracocha's beloved basement performance space in the Mission District.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Hey Rich Millennials, Here's Your Chance to Save a SF Music Venue",
"datePublished": "2015-08-03T12:10:49-07:00",
"dateModified": "2024-09-18T16:08:48-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "464728635",
"path": "/arts/10876123/hey-wacky-millennial-billionaires-heres-your-chance-to-save-a-sf-music-venue",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, all it takes is a good old impulse buy.\u003c/p>\n\u003cp>That seems to be the hope for Viracocha, the antique store-slash-community hub-slash-live music venue in the Mission District that recently \u003ca href=\"http://ww2.kqed.org/arts/2015/07/01/viracocha-mission-district-music-venue-to-close/\" target=\"_blank\" rel=\"noopener\">closed\u003c/a>.\u003c/p>\n\u003cp>According to a post on Viracocha’s Facebook page, a meeting will be held tonight (Monday, Aug. 3), to determine the future of the basement performance space. The post is vague but hopeful; it sounds like the building’s new tenants are willing to keep the basement space open for live music if a partner with funding comes forward.\u003c/p>\n\u003cp>Do you ever scroll Craigslist personals and wonder why the world’s lonleyhearts keep asking for each other online, never to meet up? This is like that. The city’s new tech residents want places for live music, and a \u003ca href=\"http://www.sfweekly.com/sanfrancisco/mission-venue-viracocha-wagers-its-survival-on-going-legit/Content?oid=2828463\" target=\"_blank\" rel=\"noopener\">beloved spot for live music\u003c/a> is asking for investors [cue \u003cem>Fiddler on the Roof\u003c/em>’s “Matchmaker” here].\u003c/p>\n\u003cp>Read the post in full below, then head to the meeting tonight.\u003c/p>\n\u003cblockquote>\u003cp>So as most of you know by now, we have closed Viracocha. Not temporarily, but completely, this time. We begin dismantling and demolition this weekend. However… There is still an opportunity to save the Basement Performance Level, and pass it along to the perspective new tenants. But…. we’ve only got TONIGHT! (Monday, August 3rd)\u003c/p>\n\u003cp>There is a group who wish to save the performance space, and keep it designated for public artistic programming, of all sorts, but the decision to move forward, or ‘call it quits’, needs an answer by the end of this evening.\u003c/p>\n\u003cp>There will be a community meeting at Viracocha, at 7:30 pm. The perspective tenant, will be on hand to describe their vision, and business plan, for what will, hopefully, inhabit 998 Valencia. They have some financial backing, but not enough to do it on their own.\u003c/p>\n\u003cp>If you, or anyone you know, might be interested in investing with them, in an effort to keep another SF art space in existence, this is the time. 7:30PM, Tonight.\u003c/p>\n\u003cp>Please share, and please join us in the discussion.\u003c/p>\n\u003cp>Also… If you’ve questioned why Viracocha is closing, or what prompts us to leave at this particular time..: answers will be provided. We have not spoken with any Reporters, despite the numerous articles that have come out speculating our decision. Remember, just cause words make it to print, doesn’t mean they are true.\u003c/p>\n\u003cp>If you want the full story… all will be explained this evening.\u003c/p>\u003c/blockquote>\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": "/arts/10876123/hey-wacky-millennial-billionaires-heres-your-chance-to-save-a-sf-music-venue",
"authors": [
"185"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596"
],
"featImg": "arts_10876129",
"label": "arts"
},
"arts_10865314": {
"type": "posts",
"id": "arts_10865314",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10865314",
"score": null,
"sort": [
1438293652000
]
},
"guestAuthors": [],
"slug": "audio-postcard-dumpling-wars-takes-on-game-of-thrones-theme",
"title": "Audio Postcard: Dumpling Wars takes on 'Game of Thrones' Theme",
"publishDate": 1438293652,
"format": "audio",
"headTitle": "Audio Postcard: Dumpling Wars takes on ‘Game of Thrones’ Theme | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/217082214″ 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>Hundreds of dumpling fans across the Bay Area descended on \u003cem>Dumpling Wars\u003c/em> in Oakland last Sunday. The third annual dumpling cook-off pitted old family recipes against unconventional new concoctions that blended eastern and western influences.\u003c/p>\n\u003cp>This year’s theme, “Game of Noms,” challenged competitors to riff on the a \u003cem>Game of Thrones\u003c/em> theme. “In addition to being foodies, a lot of us are nerds as well,” says T.J. Basa of Kearny Street Workshop, the competition organizer.\u003c/p>\n\u003cp>Listen to the Audio Postcard above.\u003c/p>\n\u003cfigure id=\"attachment_10865399\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44871.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10865399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44871-800x533.jpg\" alt=\"House of Porkister showed off some dragon eggs with their dumplings.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">House of Porkister showed off some dragon eggs with their dumplings. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10863798\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4483.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10863798 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4483-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">House Harbin Maxi folding fresh dumplings. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865407\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44771.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10865407 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44771-800x533.jpg\" alt=\"Soup dumplings\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Soup dumplings by the Boba Guys. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10863804\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4439.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10863804\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4439-800x533.jpg\" alt='\"Who knows better how to do it than our parents?\" says Sandra of Team Harbin Maxi.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Who knows better how to do it than our parents?” says Sandra of House Harbin Maxi. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865402\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44411.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10865402 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44411-800x533.jpg\" alt=\"IMG_4441\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Judge’s Choice – The Chive Pocket, filled with pork, shrimp, eggs and chives. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10863801\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4491.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10863801\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4491-800x533.jpg\" alt=\"Dumpling lovers of every age and size ate their fill of the meaty delicacies.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dumpling lovers of every age and size ate their fill of the meaty delicacies. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865388\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4499.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10865388 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4499-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Boba guys serving tea with their tea infused dumplings. (Photo: Jessica Placzek: KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865391\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4507.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10865391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4507-800x584.jpg\" alt=\"Saqib Keval, being honored with a Dumpling Award.\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-1180x861.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-1400x1022.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-960x701.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Saqib Keval, being honored with a Dumpling Award. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "KQED's Jessica Placzek reports from the third annual dumpling cook-off in Oakland, which pitted old family recipes against unconventional new concoctions that blended eastern and western influences.",
"status": "publish",
"parent": 0,
"modified": 1726788411,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 6,
"wordCount": 262
},
"headData": {
"title": "Audio Postcard: Dumpling Wars takes on 'Game of Thrones' Theme | KQED",
"description": "KQED's Jessica Placzek reports from the third annual dumpling cook-off in Oakland, which pitted old family recipes against unconventional new concoctions that blended eastern and western influences.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Audio Postcard: Dumpling Wars takes on 'Game of Thrones' Theme",
"datePublished": "2015-07-30T15:00:52-07:00",
"dateModified": "2024-09-19T16:26:51-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/10865314/audio-postcard-dumpling-wars-takes-on-game-of-thrones-theme",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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/217082214″&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/217082214″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Hundreds of dumpling fans across the Bay Area descended on \u003cem>Dumpling Wars\u003c/em> in Oakland last Sunday. The third annual dumpling cook-off pitted old family recipes against unconventional new concoctions that blended eastern and western influences.\u003c/p>\n\u003cp>This year’s theme, “Game of Noms,” challenged competitors to riff on the a \u003cem>Game of Thrones\u003c/em> theme. “In addition to being foodies, a lot of us are nerds as well,” says T.J. Basa of Kearny Street Workshop, the competition organizer.\u003c/p>\n\u003cp>Listen to the Audio Postcard above.\u003c/p>\n\u003cfigure id=\"attachment_10865399\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44871.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10865399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44871-800x533.jpg\" alt=\"House of Porkister showed off some dragon eggs with their dumplings.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">House of Porkister showed off some dragon eggs with their dumplings. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10863798\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4483.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10863798 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4483-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">House Harbin Maxi folding fresh dumplings. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865407\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44771.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10865407 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44771-800x533.jpg\" alt=\"Soup dumplings\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Soup dumplings by the Boba Guys. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10863804\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4439.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10863804\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4439-800x533.jpg\" alt='\"Who knows better how to do it than our parents?\" says Sandra of Team Harbin Maxi.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Who knows better how to do it than our parents?” says Sandra of House Harbin Maxi. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865402\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44411.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10865402 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44411-800x533.jpg\" alt=\"IMG_4441\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Judge’s Choice – The Chive Pocket, filled with pork, shrimp, eggs and chives. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10863801\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4491.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10863801\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4491-800x533.jpg\" alt=\"Dumpling lovers of every age and size ate their fill of the meaty delicacies.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dumpling lovers of every age and size ate their fill of the meaty delicacies. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865388\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4499.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10865388 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4499-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Boba guys serving tea with their tea infused dumplings. (Photo: Jessica Placzek: KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865391\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4507.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10865391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4507-800x584.jpg\" alt=\"Saqib Keval, being honored with a Dumpling Award.\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-1180x861.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-1400x1022.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-960x701.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Saqib Keval, being honored with a Dumpling Award. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\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": "/arts/10865314/audio-postcard-dumpling-wars-takes-on-game-of-thrones-theme",
"authors": [
"8606"
],
"categories": [
"arts_235"
],
"tags": [
"arts_596"
],
"featImg": "arts_10863795",
"label": "arts"
},
"news_10618809": {
"type": "posts",
"id": "news_10618809",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10618809",
"score": null,
"sort": [
1438269973000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 6944
},
"blocks": [],
"publishDate": 1438269973,
"format": "standard",
"disqusTitle": "Black Love Festival Engages More Young People in Black Lives Matter",
"title": "Black Love Festival Engages More Young People in Black Lives Matter",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> group of organizers is engaging more young people in the Black Lives Matter movement through art, music and love. It's been two years since Alicia Garza and Patrisse Cullors introduced the hashtag #BlackLivesMatter -- on the night George Zimmerman was acquitted for Trayvon Martin’s murder -- and eventually gave birth to a movement with co-founder Opal Tometi.\u003c/p>\n\u003cp>Since then, it has grown through social media, connecting a new generation of organizers. Three of them put on the first annual \u003ca href=\"http://blacklovefestival.tumblr.com/\">Black Love Festival\u003c/a> in San Francisco’s Bayview-Hunters Point on July 18.\u003c/p>\n\u003cp>The idea of Black Love is more complex and less hippie-dippie than you might think. It’s a celebration of love as a form of liberation, resistance and unity -- three themes that run deep in African-American culture. Amir \"Keez\" Shabazz is among the 400 or so black folks -- mostly students, young professionals, and creative types -- who came to enjoy an afternoon of arts and culture at Heron's Head Park.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/217041811&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Shabazz explains what black love means to him. \"'I’m here, I got your back and I love what you’re doing' is black love,\" he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he organizers chose Bayview-Hunters Point for the festival because they wanted young people to help reclaim San Francisco's historically African-American neighborhood and come together in a positive environment focused on self-care, self-healing and respect. Organizer China Pharr says everyone has a part to play in this movement.\u003c/p>\n\u003cp>\"You don’t have to be a leader or some politician,\" she says. \"You don’t have to be any of that. If you can draw, if you can write, if you can act, if you can sing, if you can clean houses, it doesn’t matter.\"\u003c/p>\n\u003cfigure id=\"attachment_10621214\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501.jpg\">\u003cimg class=\"wp-image-10621214 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg\" alt=\"Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30 and China Pharr, 24 (Adizah Eghan/KQED). \" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30, and China Pharr, 24 (Adizah Eghan/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Pharr and her fellow organizers, Etecia Brown and Leigh Davenport, met through the network of Black Lives Matter organizers, on Facebook. The idea for the Black Love Festival came from two problems they frequently encountered.\u003c/p>\n\u003cp>First, there are few black people left in San Francisco, where Leigh Davenport lives. She says, \"It’s palpable, it’s really palpable, the dwindling population,\" which is down to about 5 percent, half of what it was 20 years ago.\u003c/p>\n\u003cp>Second, not everyone feels comfortable demonstrating in the streets. \"We’ve had about five different events, and we’ve found that there wasn’t enough young people attending,\" Brown says. \"We were looking for people between the ages of 13 and 30.\"\u003c/p>\n\u003cp>So they tried a new strategy: They would get young black people to network and come to San Francisco for an arts and culture festival that was part creativity and part activism.\u003c/p>\n\u003cp>\"A big thing that’s happened in the black community in America is we have become ashamed of ourselves,\" Pharr says. \"I think when you see all this criminalization in the media, and you see all these representations of us, that we’re kind of afraid to be ourselves and celebrate ourselves.\"\u003c/p>\n\u003cp>All three of the women sit barefoot at a table in Brown's mother's apartment, not too far from where the festival took place. They've spent months trying to figure out the best way make this festival happen. The message of Black Love isn’t to shame people for not being at protests. Instead, it's to help a new generation heal.\u003c/p>\n\u003cp>The media are loaded with videos and stories of young people of color who are killed by the police. Pharr points to the \u003ca href=\"http://www.nytimes.com/interactive/2015/07/23/us/23blandlisty.html?_r=0\" target=\"_blank\">July 13 death of Sandra Bland\u003c/a>, who was pulled over for not putting on her turn signal while driving in Texas.\u003c/p>\n\u003cp> \"She was found hanging in a jail cell, and she was a college graduate just like me,\" she says. \"Moved to find a new job, just like me.\"\u003c/p>\n\u003cp>It becomes overwhelming, she adds: \"You kind of feel like there’s no end in sight sometimes. You kind of feel like, is it ever going to end? Are we ever going to stop being murdered? ... Some days I’m so happy that I was born with this beautiful melanin, and then some days I feel like it’s a blessing and a curse.\"\u003c/p>\n\u003cp>https://youtu.be/o1pmfsRCCSo\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hese feelings certainly aren't new, says \u003ca href=\"http://www.obatshaka.com/home\">Oba T'Shaka\u003c/a>, who has participated in various forms of resistance, starting with the civil rights movement in San Francisco in the '60s.\u003c/p>\n\u003cp>\"A lot of our youth are experiencing what we experienced, which is anger and disturbance at seeing our people oppressed,\" he says. In the '60s it was social and economic oppression. Today it's police oppression, he says.\u003c/p>\n\u003cp> \"The '60s produced a restructuring of the black mind, not for all blacks,\" T'Shaka says. \"In fact, our movements failed to systematize that.\"\u003c/p>\n\u003cp>The restructuring of the black mind is hard to put into words, but it’s happening with Black Lives Matter, he says. It's an awakening process similar to when a caterpillar becomes a butterfly. Once people become critically aware of the oppression around them, they start an awakening process and seek to heal from race-based trauma.\u003c/p>\n\u003cp>\"People realize that they have been hoodwinked. Some who had been involved in gangster behavior, gang-banging, realize that they’ve been gang-banging against the people who they’re supposed to be engaged in the struggle to liberate,\" T'Shaka says. \"And others who may have been involved in middle-class behavior and escapism, they begin to think about the collective and about the whole.\"\u003c/p>\n\u003cp>It's the moment Spike Lee alludes to in his films, like in the infamous \"Wake Up\" scene at the end of \"School Daze,\" when Laurence Fishburne's character, Dap, screams, \"WAAAAAAAAKE UP!\" as dreamy music builds and his fellow classmates gather in front of him. He's calling on his fellow classmates to wake up and undergo the awakening process.\u003c/p>\n\u003cp>The point, says T'Shaka, is that for self-love to happen, black Americans have always needed to embrace their African and African-American roots, sparking a deep transformation that builds collective \"leaderful\" movements like Black Lives Matter and Black Love.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/Lg8Oq_Sd3Bw\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
"disqusIdentifier": "10618809 http://ww2.kqed.org/news/?p=10618809",
"disqusUrl": "https://ww2.kqed.org/news/2015/07/30/black-love-festival-engages-more-young-people-in-black-lives-matter/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": true,
"hasPolis": false,
"wordCount": 1062,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 26
},
"modified": 1438286679,
"excerpt": "Organizers chose Bayview-Hunters Point to help reclaim S.F.'s historically African-American neighborhood",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Organizers chose Bayview-Hunters Point to help reclaim S.F.'s historically African-American neighborhood",
"title": "Black Love Festival Engages More Young People in Black Lives Matter | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Black Love Festival Engages More Young People in Black Lives Matter",
"datePublished": "2015-07-30T08:26:13-07:00",
"dateModified": "2015-07-30T13:04:39-07:00",
"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": "black-love-festival-engages-more-young-people-in-black-lives-matter",
"status": "publish",
"path": "/news/10618809/black-love-festival-engages-more-young-people-in-black-lives-matter",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> group of organizers is engaging more young people in the Black Lives Matter movement through art, music and love. It's been two years since Alicia Garza and Patrisse Cullors introduced the hashtag #BlackLivesMatter -- on the night George Zimmerman was acquitted for Trayvon Martin’s murder -- and eventually gave birth to a movement with co-founder Opal Tometi.\u003c/p>\n\u003cp>Since then, it has grown through social media, connecting a new generation of organizers. Three of them put on the first annual \u003ca href=\"http://blacklovefestival.tumblr.com/\">Black Love Festival\u003c/a> in San Francisco’s Bayview-Hunters Point on July 18.\u003c/p>\n\u003cp>The idea of Black Love is more complex and less hippie-dippie than you might think. It’s a celebration of love as a form of liberation, resistance and unity -- three themes that run deep in African-American culture. Amir \"Keez\" Shabazz is among the 400 or so black folks -- mostly students, young professionals, and creative types -- who came to enjoy an afternoon of arts and culture at Heron's Head Park.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/217041811&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Shabazz explains what black love means to him. \"'I’m here, I got your back and I love what you’re doing' is black love,\" he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he organizers chose Bayview-Hunters Point for the festival because they wanted young people to help reclaim San Francisco's historically African-American neighborhood and come together in a positive environment focused on self-care, self-healing and respect. Organizer China Pharr says everyone has a part to play in this movement.\u003c/p>\n\u003cp>\"You don’t have to be a leader or some politician,\" she says. \"You don’t have to be any of that. If you can draw, if you can write, if you can act, if you can sing, if you can clean houses, it doesn’t matter.\"\u003c/p>\n\u003cfigure id=\"attachment_10621214\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501.jpg\">\u003cimg class=\"wp-image-10621214 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg\" alt=\"Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30 and China Pharr, 24 (Adizah Eghan/KQED). \" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30, and China Pharr, 24 (Adizah Eghan/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Pharr and her fellow organizers, Etecia Brown and Leigh Davenport, met through the network of Black Lives Matter organizers, on Facebook. The idea for the Black Love Festival came from two problems they frequently encountered.\u003c/p>\n\u003cp>First, there are few black people left in San Francisco, where Leigh Davenport lives. She says, \"It’s palpable, it’s really palpable, the dwindling population,\" which is down to about 5 percent, half of what it was 20 years ago.\u003c/p>\n\u003cp>Second, not everyone feels comfortable demonstrating in the streets. \"We’ve had about five different events, and we’ve found that there wasn’t enough young people attending,\" Brown says. \"We were looking for people between the ages of 13 and 30.\"\u003c/p>\n\u003cp>So they tried a new strategy: They would get young black people to network and come to San Francisco for an arts and culture festival that was part creativity and part activism.\u003c/p>\n\u003cp>\"A big thing that’s happened in the black community in America is we have become ashamed of ourselves,\" Pharr says. \"I think when you see all this criminalization in the media, and you see all these representations of us, that we’re kind of afraid to be ourselves and celebrate ourselves.\"\u003c/p>\n\u003cp>All three of the women sit barefoot at a table in Brown's mother's apartment, not too far from where the festival took place. They've spent months trying to figure out the best way make this festival happen. The message of Black Love isn’t to shame people for not being at protests. Instead, it's to help a new generation heal.\u003c/p>\n\u003cp>The media are loaded with videos and stories of young people of color who are killed by the police. Pharr points to the \u003ca href=\"http://www.nytimes.com/interactive/2015/07/23/us/23blandlisty.html?_r=0\" target=\"_blank\">July 13 death of Sandra Bland\u003c/a>, who was pulled over for not putting on her turn signal while driving in Texas.\u003c/p>\n\u003cp> \"She was found hanging in a jail cell, and she was a college graduate just like me,\" she says. \"Moved to find a new job, just like me.\"\u003c/p>\n\u003cp>It becomes overwhelming, she adds: \"You kind of feel like there’s no end in sight sometimes. You kind of feel like, is it ever going to end? Are we ever going to stop being murdered? ... Some days I’m so happy that I was born with this beautiful melanin, and then some days I feel like it’s a blessing and a curse.\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/o1pmfsRCCSo'\n title='//www.youtube.com/embed/o1pmfsRCCSo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hese feelings certainly aren't new, says \u003ca href=\"http://www.obatshaka.com/home\">Oba T'Shaka\u003c/a>, who has participated in various forms of resistance, starting with the civil rights movement in San Francisco in the '60s.\u003c/p>\n\u003cp>\"A lot of our youth are experiencing what we experienced, which is anger and disturbance at seeing our people oppressed,\" he says. In the '60s it was social and economic oppression. Today it's police oppression, he says.\u003c/p>\n\u003cp> \"The '60s produced a restructuring of the black mind, not for all blacks,\" T'Shaka says. \"In fact, our movements failed to systematize that.\"\u003c/p>\n\u003cp>The restructuring of the black mind is hard to put into words, but it’s happening with Black Lives Matter, he says. It's an awakening process similar to when a caterpillar becomes a butterfly. Once people become critically aware of the oppression around them, they start an awakening process and seek to heal from race-based trauma.\u003c/p>\n\u003cp>\"People realize that they have been hoodwinked. Some who had been involved in gangster behavior, gang-banging, realize that they’ve been gang-banging against the people who they’re supposed to be engaged in the struggle to liberate,\" T'Shaka says. \"And others who may have been involved in middle-class behavior and escapism, they begin to think about the collective and about the whole.\"\u003c/p>\n\u003cp>It's the moment Spike Lee alludes to in his films, like in the infamous \"Wake Up\" scene at the end of \"School Daze,\" when Laurence Fishburne's character, Dap, screams, \"WAAAAAAAAKE UP!\" as dreamy music builds and his fellow classmates gather in front of him. He's calling on his fellow classmates to wake up and undergo the awakening process.\u003c/p>\n\u003cp>The point, says T'Shaka, is that for self-love to happen, black Americans have always needed to embrace their African and African-American roots, sparking a deep transformation that builds collective \"leaderful\" movements like Black Lives Matter and Black Love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/Lg8Oq_Sd3Bw\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10618809/black-love-festival-engages-more-young-people-in-black-lives-matter",
"authors": [
"195"
],
"programs": [
"news_6944"
],
"categories": [
"news_223"
],
"tags": [
"news_19971",
"news_38"
],
"featImg": "news_10620369",
"label": "news_6944"
},
"arts_10865389": {
"type": "posts",
"id": "arts_10865389",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10865389",
"score": null,
"sort": [
1438128024000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1438128024,
"format": "standard",
"title": "Artists Aghast at Anti-Public Art Lawsuit Against Oakland",
"headTitle": "Artists Aghast at Anti-Public Art Lawsuit Against Oakland | KQED",
"content": "\u003cp>Artists across the Bay Area are expressing shock and dismay after the Building Industry Association of the Bay Area (BIA) filed a lawsuit against the city of Oakland last week over the issue of public art in privately-funded developments.\u003c/p>\n\u003cp>The\u003ca href=\"http://www.biabayarea.org\" target=\"_blank\" rel=\"noopener\"> BIA Bay Area\u003c/a>, a nonprofit association of contractors, developers and building industry business owners, is fighting the city’s percent for art ordinance, which they claim violates their first and fifth amendment rights.\u003c/p>\n\u003cp>“I consider this the ‘slip and fall’ of development lawsuits,” says Oakland artist Randy Colosky.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/216799697″ 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>The ordinance, which already applied to Oakland municipal projects, expanded in early February to require that commercial projects costing more than $200,000 devote one percent of their budgets to public art. Residential projects must devote one-half percent of their budgets to public art. Alternatively, any building project can pay a corresponding amount into a pooled fund for public art programs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Developers owe it to the city and residents to enrich the landscape and culture of the urban space,” Emma Spertus, artist and founder of the Oakland studio building and residency program \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener\">Real Time and Space\u003c/a>, says.\u003c/p>\n\u003cp>“Public art is about the architecture of a space, the architecture of a community, the architecture of a building,” says Colosky, who recently completed \u003ca href=\"http://www.sfartscommission.org/pubartcollection/pubart-press-releases/2014/02/06/coming-soon-new-mural-by-randy-colosky-mural-at-future-central-subway-moscone-station/\" target=\"_blank\" rel=\"noopener\">a public art commission\u003c/a> in San Francisco at the site of the future Central Subway.\u003c/p>\n\u003cfigure id=\"attachment_10865580\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10865580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z.jpg\" alt=\"Randy Colosky, 'Ellipses in the Key of Blue,' installation at the Moscone Central Subway construction site. (Photo: Ethan Kaplan/San Francisco Arts Commission) \" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Randy Colosky, ‘Ellipses in the Key of Blue,’ installation at the Moscone Central Subway construction site. (Photo: Ethan Kaplan/San Francisco Arts Commission)\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced by then-councilmember Libby Schaaf, the amendment was approved in Nov. 2014 and went into effect in Feb. 2015. The \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/policy/oak052794.pdf\" target=\"_blank\" rel=\"noopener\">ordinance\u003c/a> stresses public art is “important for the vitality of the artist community as well as the quality of life for all Oakland residents.”\u003c/p>\n\u003cp>This sentiment flies in direct contrast to the suit filed last week.\u003c/p>\n\u003cp>BIA Bay Area is represented by Pacific Legal Foundation (PLF), a conservative public interest law firm. The firm \u003ca href=\"http://www.pacificlegal.org/releases/release-7-23-15-biaba-v-oakland-4-1538\" target=\"_blank\" rel=\"noopener\">says\u003c/a> the city is “forcing builders of homes and commercial projects to fund art works that have no reasonable connection to any public needs created by their building projects.”\u003c/p>\n\u003cp>Percent-for-art ordinances already exist in most Bay Area cities, including San Francisco, Berkeley, Walnut Creek, Emeryville, El Cerrito and Santa Rosa. Oakland, with its large and ever-growing artist community, follows a well-established trend of integrating public art into private developments.\u003c/p>\n\u003cp>Kristen Zaremba, senior public art project manager for the city says, “Support for the arts and the arts community is fierce and committed, from the mayor on down.”\u003c/p>\n\u003cp>So why sue Oakland, and why now?\u003c/p>\n\u003cp>Claiming the percent for art ordinance levies needless fees on developers, BIA positions itself as pro-housing in the midst of the Bay Area’s housing crisis. Since the ordinance is new and hasn’t yet accumulated any funds, perhaps the BIA seeks to cut off such expenditures before they become commonplace.\u003c/p>\n\u003cfigure id=\"attachment_10865584\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10865584\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/294244155_big.jpg\" alt=\"Emma Spertus, 'Space blinds,' installation at Interface Gallery. (Photo: Emma Spertus, Interface Gallery)\" width=\"600\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/294244155_big.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/294244155_big-400x251.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Emma Spertus, ‘Space blinds,’ installation at Interface Gallery. (Photo: Emma Spertus, Interface Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Colosky believes the economic argument is groundless. “As someone who has vetted projects for the city of Oakland, I know how little of the budget includes public art,” Colosky says. “It’s miniscule. If a developer can’t make money and include that, he’s not a good developer.”\u003c/p>\n\u003cp>As local artists and members of the community voice their anger towards BIA on social media and rally email-writing campaigns, the conversation also turns towards the possibilities of even more support for the arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Spertus has hopes for the city’s future arts spending, barring any setbacks from the lawsuit. “I hope the percent for art can translate into more artists grants. I think to be the caliber of city it should be, Oakland should be funneling even more funds to local artists, not just those who are doing public art,” she says.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 727,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705046687,
"excerpt": "A suit against the city of Oakland challenges private spending on public art and artists are up in arms. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A suit against the city of Oakland challenges private spending on public art and artists are up in arms. ",
"title": "Artists Aghast at Anti-Public Art Lawsuit Against Oakland | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Artists Aghast at Anti-Public Art Lawsuit Against Oakland",
"datePublished": "2015-07-28T17:00:24-07:00",
"dateModified": "2024-01-12T00:04:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "artists-aghast-at-anti-public-art-lawsuit-against-oakland",
"status": "publish",
"sticky": false,
"path": "/arts/10865389/artists-aghast-at-anti-public-art-lawsuit-against-oakland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artists across the Bay Area are expressing shock and dismay after the Building Industry Association of the Bay Area (BIA) filed a lawsuit against the city of Oakland last week over the issue of public art in privately-funded developments.\u003c/p>\n\u003cp>The\u003ca href=\"http://www.biabayarea.org\" target=\"_blank\" rel=\"noopener\"> BIA Bay Area\u003c/a>, a nonprofit association of contractors, developers and building industry business owners, is fighting the city’s percent for art ordinance, which they claim violates their first and fifth amendment rights.\u003c/p>\n\u003cp>“I consider this the ‘slip and fall’ of development lawsuits,” says Oakland artist Randy Colosky.\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/216799697″&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/216799697″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The ordinance, which already applied to Oakland municipal projects, expanded in early February to require that commercial projects costing more than $200,000 devote one percent of their budgets to public art. Residential projects must devote one-half percent of their budgets to public art. Alternatively, any building project can pay a corresponding amount into a pooled fund for public art programs.\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>“Developers owe it to the city and residents to enrich the landscape and culture of the urban space,” Emma Spertus, artist and founder of the Oakland studio building and residency program \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener\">Real Time and Space\u003c/a>, says.\u003c/p>\n\u003cp>“Public art is about the architecture of a space, the architecture of a community, the architecture of a building,” says Colosky, who recently completed \u003ca href=\"http://www.sfartscommission.org/pubartcollection/pubart-press-releases/2014/02/06/coming-soon-new-mural-by-randy-colosky-mural-at-future-central-subway-moscone-station/\" target=\"_blank\" rel=\"noopener\">a public art commission\u003c/a> in San Francisco at the site of the future Central Subway.\u003c/p>\n\u003cfigure id=\"attachment_10865580\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10865580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z.jpg\" alt=\"Randy Colosky, 'Ellipses in the Key of Blue,' installation at the Moscone Central Subway construction site. (Photo: Ethan Kaplan/San Francisco Arts Commission) \" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Randy Colosky, ‘Ellipses in the Key of Blue,’ installation at the Moscone Central Subway construction site. (Photo: Ethan Kaplan/San Francisco Arts Commission)\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced by then-councilmember Libby Schaaf, the amendment was approved in Nov. 2014 and went into effect in Feb. 2015. The \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/policy/oak052794.pdf\" target=\"_blank\" rel=\"noopener\">ordinance\u003c/a> stresses public art is “important for the vitality of the artist community as well as the quality of life for all Oakland residents.”\u003c/p>\n\u003cp>This sentiment flies in direct contrast to the suit filed last week.\u003c/p>\n\u003cp>BIA Bay Area is represented by Pacific Legal Foundation (PLF), a conservative public interest law firm. The firm \u003ca href=\"http://www.pacificlegal.org/releases/release-7-23-15-biaba-v-oakland-4-1538\" target=\"_blank\" rel=\"noopener\">says\u003c/a> the city is “forcing builders of homes and commercial projects to fund art works that have no reasonable connection to any public needs created by their building projects.”\u003c/p>\n\u003cp>Percent-for-art ordinances already exist in most Bay Area cities, including San Francisco, Berkeley, Walnut Creek, Emeryville, El Cerrito and Santa Rosa. Oakland, with its large and ever-growing artist community, follows a well-established trend of integrating public art into private developments.\u003c/p>\n\u003cp>Kristen Zaremba, senior public art project manager for the city says, “Support for the arts and the arts community is fierce and committed, from the mayor on down.”\u003c/p>\n\u003cp>So why sue Oakland, and why now?\u003c/p>\n\u003cp>Claiming the percent for art ordinance levies needless fees on developers, BIA positions itself as pro-housing in the midst of the Bay Area’s housing crisis. Since the ordinance is new and hasn’t yet accumulated any funds, perhaps the BIA seeks to cut off such expenditures before they become commonplace.\u003c/p>\n\u003cfigure id=\"attachment_10865584\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10865584\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/294244155_big.jpg\" alt=\"Emma Spertus, 'Space blinds,' installation at Interface Gallery. (Photo: Emma Spertus, Interface Gallery)\" width=\"600\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/294244155_big.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/294244155_big-400x251.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Emma Spertus, ‘Space blinds,’ installation at Interface Gallery. (Photo: Emma Spertus, Interface Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Colosky believes the economic argument is groundless. “As someone who has vetted projects for the city of Oakland, I know how little of the budget includes public art,” Colosky says. “It’s miniscule. If a developer can’t make money and include that, he’s not a good developer.”\u003c/p>\n\u003cp>As local artists and members of the community voice their anger towards BIA on social media and rally email-writing campaigns, the conversation also turns towards the possibilities of even more support for the arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Spertus has hopes for the city’s future arts spending, barring any setbacks from the lawsuit. “I hope the percent for art can translate into more artists grants. I think to be the caliber of city it should be, Oakland should be funneling even more funds to local artists, not just those who are doing public art,” she says.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10865389/artists-aghast-at-anti-public-art-lawsuit-against-oakland",
"authors": [
"61"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1310",
"arts_1119",
"arts_596"
],
"featImg": "arts_10865481",
"label": "arts"
},
"arts_10858301": {
"type": "posts",
"id": "arts_10858301",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10858301",
"score": null,
"sort": [
1437782881000
]
},
"guestAuthors": [],
"slug": "what-ai-wei-weis-new-passport-means-for-the-artists-career",
"title": "What Ai Weiwei's New Passport Means for the Artist's Career",
"publishDate": 1437782881,
"format": "standard",
"headTitle": "What Ai Weiwei’s New Passport Means for the Artist’s Career | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>After being jailed by the Chinese government in 2011, and his work censored in the country, the dissident artist Ai Weiwei received\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/22/425231907/after-four-years-chinese-dissident-artist-ai-weiwei-gets-his-passport-back\"> his passport back\u003c/a> this week.\u003c/p>\n\u003cp>“My heart is at peace,” the artist said in an \u003ca href=\"http://www.cnn.com/2015/07/23/asia/china-ai-weiwei-watson-interview/\">interview with CNN\u003c/a>. “I feel quite released.”\u003c/p>\n\u003cp>Although unable to travel abroad, Ai, who is known for contemporary art that asserts free speech and human rights, still managed to mount a major exhibition in San Francisco without ever setting foot in the city. \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2014/09/25/exploring-freedom-and-confinement-on-alcatraz/\">@ Large: Ai Weiwei on Alcatraz\u003c/a> \u003c/em>was curated by Cheryl Haines, founder of the For-Site Foundation located in San Francisco, and a friend of Ai. Haines spoke with KQED about her remote collaboration with the artist on \u003cem>@Large\u003c/em> and the significance of Ai’s ability to travel freely again.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/216223313″]\u003c/p>\n\u003cp>Alcatraz saw nearly 900,000 visitors, many of them Bay Area residents, during the exhibition’s run from Sep. 27, 2014 to Apr. 26, 2015, Haines said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=W_UkcNhY0IM]\u003c/p>\n\u003cp>In one of the show’s installations, \u003cem>Yours Truly\u003c/em>, visitors could send postcards addressed to dissidents in 30 nations, Haines said.\u003c/p>\n\u003cp>“Some of the individuals, particularly the children, I found, sent the most beautiful messages. Some of them very simple. Others way more emotionally complex and mature than their years might suggest,” she said.\u003c/p>\n\u003cp>Haines remembers one response from a “very serious” looking six-year-old. When the boy left, she picked up his card and read it.\u003c/p>\n\u003cp>“Dear Prisoner, I don’t know what your day is like,” Haines said, reciting the words on the card. “I’m not even sure what you did. But I’m very sorry and I hope that you get out soon. And if you don’t, please try to find some joy, some happiness everyday.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Haines said she is working on a documentary called \u003cem>Yours Truly\u003c/em>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "KQED chats with gallerist Cheryl Haines about the rehabilitation of the famous dissident Chinese artist, whose immensely popular recent '@Large' exhibition on Alcatraz was put together without the artist setting foot in San Francisco.",
"status": "publish",
"parent": 0,
"modified": 1726701422,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 350
},
"headData": {
"title": "What Ai Weiwei's New Passport Means for the Artist's Career | KQED",
"description": "KQED chats with gallerist Cheryl Haines about the rehabilitation of the famous dissident Chinese artist, whose immensely popular recent '@Large' exhibition on Alcatraz was put together without the artist setting foot in San Francisco.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What Ai Weiwei's New Passport Means for the Artist's Career",
"datePublished": "2015-07-24T17:08:01-07:00",
"dateModified": "2024-09-18T16:17:02-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/10858301/what-ai-wei-weis-new-passport-means-for-the-artists-career",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After being jailed by the Chinese government in 2011, and his work censored in the country, the dissident artist Ai Weiwei received\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/22/425231907/after-four-years-chinese-dissident-artist-ai-weiwei-gets-his-passport-back\"> his passport back\u003c/a> this week.\u003c/p>\n\u003cp>“My heart is at peace,” the artist said in an \u003ca href=\"http://www.cnn.com/2015/07/23/asia/china-ai-weiwei-watson-interview/\">interview with CNN\u003c/a>. “I feel quite released.”\u003c/p>\n\u003cp>Although unable to travel abroad, Ai, who is known for contemporary art that asserts free speech and human rights, still managed to mount a major exhibition in San Francisco without ever setting foot in the city. \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2014/09/25/exploring-freedom-and-confinement-on-alcatraz/\">@ Large: Ai Weiwei on Alcatraz\u003c/a> \u003c/em>was curated by Cheryl Haines, founder of the For-Site Foundation located in San Francisco, and a friend of Ai. Haines spoke with KQED about her remote collaboration with the artist on \u003cem>@Large\u003c/em> and the significance of Ai’s ability to travel freely again.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='undefined' height='undefined'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/216223313″&visual=true&undefined'\n title='”https://api.soundcloud.com/tracks/216223313″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Alcatraz saw nearly 900,000 visitors, many of them Bay Area residents, during the exhibition’s run from Sep. 27, 2014 to Apr. 26, 2015, Haines said.\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>\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/W_UkcNhY0IM'\n title='//www.youtube.com/embed/W_UkcNhY0IM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In one of the show’s installations, \u003cem>Yours Truly\u003c/em>, visitors could send postcards addressed to dissidents in 30 nations, Haines said.\u003c/p>\n\u003cp>“Some of the individuals, particularly the children, I found, sent the most beautiful messages. Some of them very simple. Others way more emotionally complex and mature than their years might suggest,” she said.\u003c/p>\n\u003cp>Haines remembers one response from a “very serious” looking six-year-old. When the boy left, she picked up his card and read it.\u003c/p>\n\u003cp>“Dear Prisoner, I don’t know what your day is like,” Haines said, reciting the words on the card. “I’m not even sure what you did. But I’m very sorry and I hope that you get out soon. And if you don’t, please try to find some joy, some happiness everyday.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Haines said she is working on a documentary called \u003cem>Yours Truly\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10858301/what-ai-wei-weis-new-passport-means-for-the-artists-career",
"authors": [
"7240"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_596",
"arts_901"
],
"featImg": "arts_10858379",
"label": "arts"
},
"news_10614426": {
"type": "posts",
"id": "news_10614426",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10614426",
"score": null,
"sort": [
1437773409000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 6944
},
"blocks": [],
"publishDate": 1437773409,
"format": "aside",
"disqusTitle": "Lake Berryessa Fire Timelapse: Poetry of Smoke and Light",
"title": "Lake Berryessa Fire Timelapse: Poetry of Smoke and Light",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/134351601\" width=\"800\" height=\"449\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Justin Majeczky, a photographer who specializes in timelapses, was at home in the Yolo County town of Woodland on Wednesday when he saw smoke to the west. He was seeing the early stages of the Wragg Fire, which has burned nearly 7,000 acres at the southeast end of Lake Berryessa.\u003c/p>\n\u003cp>Majeczky, 27, grabbed his timelapse equipment -- two Sony cameras and a pair of tripods -- and headed across the western edge of the Sacramento Valley toward the mountains where the fire was burning. What he captured was, well, poetic. The video, above, speaks for itself.\u003c/p>\n\u003cp>The images also illustrate a less poetic reality: In its early hours especially, the fire was generating large volumes of smoke and ash that caused air-quality concerns east into Winters, Davis, Sacramento and north as far as Redding.\u003c/p>\n\u003cp>Majeczky says he began putting timelapses together when he was 16. \"I started shooting when I was 13, and then the timelapses were something fun to do,\" he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He's now in the timelapse business. His small production company, Varient3.com, took off after he posted a piece on Sacramento last year, and he's done work for commercial clients, including camera maker Canon and Home and Garden Television.\u003c/p>\n\n",
"disqusIdentifier": "10614426 http://ww2.kqed.org/news/?p=10614426",
"disqusUrl": "https://ww2.kqed.org/news/2015/07/24/lake-berryessa-fire-timelapse-poetry-of-smoke-and-light/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 206,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1437784283,
"excerpt": "Woodland-based photographer scrambled to capture early hours of fire in mountains north of Vacaville. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Woodland-based photographer scrambled to capture early hours of fire in mountains north of Vacaville. ",
"title": "Lake Berryessa Fire Timelapse: Poetry of Smoke and Light | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Lake Berryessa Fire Timelapse: Poetry of Smoke and Light",
"datePublished": "2015-07-24T14:30:09-07:00",
"dateModified": "2015-07-24T17:31:23-07:00",
"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": "lake-berryessa-fire-timelapse-poetry-of-smoke-and-light",
"status": "publish",
"path": "/news/10614426/lake-berryessa-fire-timelapse-poetry-of-smoke-and-light",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/134351601\" width=\"800\" height=\"449\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Justin Majeczky, a photographer who specializes in timelapses, was at home in the Yolo County town of Woodland on Wednesday when he saw smoke to the west. He was seeing the early stages of the Wragg Fire, which has burned nearly 7,000 acres at the southeast end of Lake Berryessa.\u003c/p>\n\u003cp>Majeczky, 27, grabbed his timelapse equipment -- two Sony cameras and a pair of tripods -- and headed across the western edge of the Sacramento Valley toward the mountains where the fire was burning. What he captured was, well, poetic. The video, above, speaks for itself.\u003c/p>\n\u003cp>The images also illustrate a less poetic reality: In its early hours especially, the fire was generating large volumes of smoke and ash that caused air-quality concerns east into Winters, Davis, Sacramento and north as far as Redding.\u003c/p>\n\u003cp>Majeczky says he began putting timelapses together when he was 16. \"I started shooting when I was 13, and then the timelapses were something fun to do,\" he says.\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>He's now in the timelapse business. His small production company, Varient3.com, took off after he posted a piece on Sacramento last year, and he's done work for commercial clients, including camera maker Canon and Home and Garden Television.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10614426/lake-berryessa-fire-timelapse-poetry-of-smoke-and-light",
"authors": [
"222"
],
"programs": [
"news_6944"
],
"categories": [
"news_223",
"news_356"
],
"tags": [
"news_4463",
"news_18363"
],
"featImg": "news_10614433",
"label": "news_6944"
},
"arts_10856058": {
"type": "posts",
"id": "arts_10856058",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10856058",
"score": null,
"sort": [
1437681713000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1437681713,
"format": "standard",
"title": "Negativland's Don Joyce, DJ Behind KPFA's 'Over The Edge,' Has Died",
"headTitle": "Negativland’s Don Joyce, DJ Behind KPFA’s ‘Over The Edge,’ Has Died | KQED",
"content": "\u003cp>Don Joyce, a longtime member of the Bay Area experimental group Negativland and the host of KPFA’s radio show \u003ci>Over The Edge\u003c/i>, died Wednesday of heart failure. He was 71. \u003c/p>\n\u003cp>[contextly_sidebar id=”ayqJ8Qh7wZdsYCaWplpQicfm3C29u0mq”]\u003c/p>\n\u003cp>In an obituary posted on the band’s \u003ca href=\"https://www.facebook.com/Negativlandland/posts/1098963353464741\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>, Joyce is credited with coining the phrase “culture jamming” to describe Negativland’s manipulation of re-appropriated media into biting social/political/religious commentary. Joyce also introduced to band members the concept of cutting up recorded material — both music and voice recordings — to create new compositions, years before sampling was common.\u003c/p>\n\u003cp>Joyce’s influence on the band was evident in its most high-profile recordings, including “\u003ca href=\"https://www.youtube.com/watch?v=Z6gPSSYxex0\" target=\"_blank\" rel=\"noopener\">I Still Haven’t Found What I’m Looking For\u003c/a>,” which mashed up samples from the hit song by U2 with kazoos, electronics, and an profane rant by Top 40 radio DJ Casey Kasem. The band was famously sued by representatives from U2’s label Island Records, and the lawsuit is often cited in present-day discussions of fair use. \u003c/p>\n\u003cp>“‘Recontextualization’ became his weapon, with the 1/4” tape machine and razor blade his ammunition, and the radio ‘cart player’ — an entirely forgotten piece of broadcast history using endless-loop tape cartridges, which he used until his death — his delivery system,” the obituary says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Described by Negativland’s Peter Conheim as being the group’s “tape-razor madman,” Joyce was first introduced to the band as guests on \u003ci>Over The Edge\u003c/i>, a radio show Joyce founded in 1981. The collaboration turned the show from a more traditional music-and-talking form into an experimental sound collage that aired on Thursday nights for 34 years. (All of Joyce’s \u003cem>Over the Edge\u003c/em> shows — over 5,000 hours worth — will stay available on the \u003ca href=\"https://archive.org/details/negativland\" target=\"_blank\" rel=\"noopener\">Internet Archive\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" class=\"size-full wp-image-10144616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, from 1997. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joyce stopped playing live with Negativland in 2010, citing health issues, but he was still actively composing for the band. A staunch atheist, his critical reviews of religion were on full display on Negativland’s most recent album, \u003ci>It’s All In Your Head\u003c/i>.\u003c/p>\n\u003cp>“I’m fascinated with human gullibility and the dangers it poses,” Joyce said in an \u003ca href=\"http://ww2.kqed.org/arts/2014/10/28/negativland-is-still-cultural-jamming-taking-on-our-masters/\" target=\"_blank\" rel=\"noopener\">interview last year\u003c/a>. “I’ve been creating religious collages of various kinds all the way back to the beginning of \u003cem>Over the Edge\u003c/em> broadcasting. Thirty years, and it still hasn’t changed much.”\u003c/p>\n\u003cp>Joyce was born in Keene, New Hampshire in 1944. He moved to Oakland in the 1960s, where he lived until his death, according to the band. No details about a funeral service have been made public at this time. \u003c/p>\n\u003cp>Joyce is the second member of Negativland to die this year; past member Ian Allen \u003ca href=\"http://www.negativland.com/news/?p=688#comments\" target=\"_blank\" rel=\"noopener\">died in January\u003c/a>. \u003c/p>\n\u003cp>\u003ci>Listen to Negativland’s “No Business,” which Conheim has noted as being Joyce’s first digitally-composed piece:\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9y4MHDPY2m4\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 523,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705046720,
"excerpt": "Don Joyce, a longtime member of the Bay Area experimental group Negativland and the host of KPFA's radio show \u003ci>Over The Edge\u003c/i>, died Wednesday of heart failure. He was 71. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Don Joyce, a longtime member of the Bay Area experimental group Negativland and the host of KPFA's radio show Over The Edge, died Wednesday of heart failure. He was 71. ",
"title": "Negativland's Don Joyce, DJ Behind KPFA's 'Over The Edge,' Has Died | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Negativland's Don Joyce, DJ Behind KPFA's 'Over The Edge,' Has Died",
"datePublished": "2015-07-23T13:01:53-07:00",
"dateModified": "2024-01-12T00:05:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "negativlands-don-joyce-dj-behind-kpfas-over-the-edge-has-died",
"status": "publish",
"sticky": false,
"path": "/arts/10856058/negativlands-don-joyce-dj-behind-kpfas-over-the-edge-has-died",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don Joyce, a longtime member of the Bay Area experimental group Negativland and the host of KPFA’s radio show \u003ci>Over The Edge\u003c/i>, died Wednesday of heart failure. He was 71. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In an obituary posted on the band’s \u003ca href=\"https://www.facebook.com/Negativlandland/posts/1098963353464741\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>, Joyce is credited with coining the phrase “culture jamming” to describe Negativland’s manipulation of re-appropriated media into biting social/political/religious commentary. Joyce also introduced to band members the concept of cutting up recorded material — both music and voice recordings — to create new compositions, years before sampling was common.\u003c/p>\n\u003cp>Joyce’s influence on the band was evident in its most high-profile recordings, including “\u003ca href=\"https://www.youtube.com/watch?v=Z6gPSSYxex0\" target=\"_blank\" rel=\"noopener\">I Still Haven’t Found What I’m Looking For\u003c/a>,” which mashed up samples from the hit song by U2 with kazoos, electronics, and an profane rant by Top 40 radio DJ Casey Kasem. The band was famously sued by representatives from U2’s label Island Records, and the lawsuit is often cited in present-day discussions of fair use. \u003c/p>\n\u003cp>“‘Recontextualization’ became his weapon, with the 1/4” tape machine and razor blade his ammunition, and the radio ‘cart player’ — an entirely forgotten piece of broadcast history using endless-loop tape cartridges, which he used until his death — his delivery system,” the obituary says.\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>Described by Negativland’s Peter Conheim as being the group’s “tape-razor madman,” Joyce was first introduced to the band as guests on \u003ci>Over The Edge\u003c/i>, a radio show Joyce founded in 1981. The collaboration turned the show from a more traditional music-and-talking form into an experimental sound collage that aired on Thursday nights for 34 years. (All of Joyce’s \u003cem>Over the Edge\u003c/em> shows — over 5,000 hours worth — will stay available on the \u003ca href=\"https://archive.org/details/negativland\" target=\"_blank\" rel=\"noopener\">Internet Archive\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" class=\"size-full wp-image-10144616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, from 1997. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joyce stopped playing live with Negativland in 2010, citing health issues, but he was still actively composing for the band. A staunch atheist, his critical reviews of religion were on full display on Negativland’s most recent album, \u003ci>It’s All In Your Head\u003c/i>.\u003c/p>\n\u003cp>“I’m fascinated with human gullibility and the dangers it poses,” Joyce said in an \u003ca href=\"http://ww2.kqed.org/arts/2014/10/28/negativland-is-still-cultural-jamming-taking-on-our-masters/\" target=\"_blank\" rel=\"noopener\">interview last year\u003c/a>. “I’ve been creating religious collages of various kinds all the way back to the beginning of \u003cem>Over the Edge\u003c/em> broadcasting. Thirty years, and it still hasn’t changed much.”\u003c/p>\n\u003cp>Joyce was born in Keene, New Hampshire in 1944. He moved to Oakland in the 1960s, where he lived until his death, according to the band. No details about a funeral service have been made public at this time. \u003c/p>\n\u003cp>Joyce is the second member of Negativland to die this year; past member Ian Allen \u003ca href=\"http://www.negativland.com/news/?p=688#comments\" target=\"_blank\" rel=\"noopener\">died in January\u003c/a>. \u003c/p>\n\u003cp>\u003ci>Listen to Negativland’s “No Business,” which Conheim has noted as being Joyce’s first digitally-composed piece:\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9y4MHDPY2m4'\n title='//www.youtube.com/embed/9y4MHDPY2m4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10856058/negativlands-don-joyce-dj-behind-kpfas-over-the-edge-has-died",
"authors": [
"93"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596"
],
"featImg": "arts_10856059",
"label": "arts"
},
"arts_10826872": {
"type": "posts",
"id": "arts_10826872",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10826872",
"score": null,
"sort": [
1437505244000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1437505244,
"format": "standard",
"title": "City Plans to Transform Treasure Island with $50 Million for Public Art",
"headTitle": "City Plans to Transform Treasure Island with $50 Million for Public Art | KQED",
"content": "\u003cp>In an art-themed version of the movie axiom, “if you build it, they will come,” the San Francisco Arts Commission (SFAC) hopes to draw locals and tourists alike to Treasure Island — and not just for its views.\u003c/p>\n\u003cp>Over the next 20 years, the man-made tract of land will undergo a massive transformation, on par with its historical shift from world’s fair site to Navy base in 1941. Its population will swell from about 2,000 residents to an estimated 19,000, it will gain a ferry station, up to 500 hotel rooms, and, perhaps most remarkably, $50 million in public art.\u003c/p>\n\u003cfigure id=\"attachment_10826953\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826953\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IslandCenter-e1436399349906.jpg\" alt=\"Rendering from 'Treasure Island and Yerba Buena Island Design for Development' (Photo: TIDA)\" width=\"640\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">Rendering from ‘Treasure Island and Yerba Buena Island Design for Development’ (Photo: TIDA) \u003ccite>(Photo: Courtesy of Treasure Island Development Authority)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the housing crisis continues in San Francisco and East Bay prices rise to match, the promise of 8,000 new units on Treasure Island (25 percent at below-market rates) could be incentive enough to make people pay attention to a part of the city often left off the maps. But Treasure Island’s future includes more than just housing. And the SFAC’s arts master plan, expected by March 2016, seeks to make the spot an art-world destination.\u003c/p>\n\u003cp>The cause is led by Jill Manton, director of the SFAC’s Public Art Trust and Special Initiatives, who met with the mayor’s office ten years ago to make sure public art wasn’t neglected in Treasure Island’s long-term development plans. The SFAC will manage pooled funds from the development’s one percent for art fee, the city’s mandate that a building project expend one percent of the construction cost towards public art.\u003c/p>\n\u003cp>What does this mean for a part of the city currently and conspicuously lacking any public art? Instead of a smattering of monolithic entryway sculptures, the likes of which can be seen in many of San Francisco’s towering new condominiums, Treasure Island will host a deeply considered and generously budgeted public art program, all sited on publicly accessible open space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Think island-wide treasure hunts, dance performances, light displays, wind-activated art and sculpture gardens. Increasingly for the SFAC, public art is more than just graffiti-resistant plaza sculpture. Treasure Island is an opportunity for expansive definitions of public art to be put to the test on an unprecedented scale for the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_10826955\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826955\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/142627758.jpg\" alt=\"View from the Bay Bridge of the 1939 Golden Gate International Exposition, 1939. (Photo: Underwood Archives/Getty Images)\" width=\"594\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/142627758.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/142627758-400x312.jpg 400w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">View from the Bay Bridge of the 1939 Golden Gate International Exposition, 1939. (Photo: Underwood Archives/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Built for the 1939 Golden Gate International Exposition, Treasure Island soon abandoned such frivolity for a Navy station, which remained active until 1997. Today, the site is home to a small, but diverse community, including a Job Corps outpost, the Treasure Island Homeless Development Initiative (providing support and housing for people seeking to exit homelessness) and a single grocery store.\u003c/p>\n\u003cp>May 29, 2015 marked the first major transfer of 270 acres from the Navy to the city of San Francisco, beginning the long-awaited development process of the “Magic Isle” under the direction of the Treasure Island Development Authority (TIDA).\u003c/p>\n\u003cp>In addition to homes and hotels, the development plan includes basic infrastructure updates to Treasure Island’s streets, landscaping, an urban agricultural park and a new area of natural habitat called “The Wilds.” Land transfers will continue over the next seven years.\u003c/p>\n\u003cp>Becky Hogue, a member of TIDA’s Citizen Advisory Board (CAB) and a Treasure Island resident, says she currently knows more about the proposed trees and paving than the public art plan. She hopes the SFAC bucks a trend of excluding residents from the activities going on in their own backyard.\u003c/p>\n\u003cp>“There are a lot of big events on the great lawn,” Hogue says, pointing to Oracle’s annual OpenWorld “appreciation event” and the Treasure Island Music Festival. “But the residents aren’t part of them.”\u003c/p>\n\u003cfigure id=\"attachment_10826961\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826961\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z.jpg\" alt=\"Benjamin Jones, 'Treehouse,' 2014 (Photo: Alex Taferner/figmentNYC)\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z-400x265.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Benjamin Jones, ‘Treehouse,’ 2014 (Photo: Alex Taferner/figmentNYC)\u003c/figcaption>\u003c/figure>\n\u003cp>In an effort to be more inclusive, Manton is considering ways in which to democratize the curatorial process of a designated open space, a so-called “free zone.” The idea is similar to that of \u003ca href=\"http://newyork.figmentproject.org/\" target=\"_blank\" rel=\"noopener\">FIGMENT,\u003c/a> a weekend-long participatory art event that takes place in a number of cities around the country.\u003c/p>\n\u003cp>“We are often approached by artists about displaying their work in the city and it often does not work out for various reasons and logistics — aesthetic quality being one of the primary factors,” Manton says. FIGMENT is open to submissions from “anyone who can bring their project by their own means and de-install it when the event is over.”\u003c/p>\n\u003cp>The Oakland Museum’s \u003ca href=\"http://www.museumca.org/bay-bridge-steel\" target=\"_blank\" rel=\"noopener\">Bay Bridge Steel project\u003c/a> may provide another possibility for increased public collaboration. The program intends to make salvaged parts of the old bridge available to artists as material for public art projects. Could Treasure Island be one such destination for the transformed spans? Manton says it makes perfect sense: “What could be more site specific?”\u003c/p>\n\u003cp>Kathrin Moore, a CAB member since the group’s inception in 2001, is enthusiastic about the SFAC’s involvement. Moore thinks Treasure Island’s public art program, if curated correctly, could gain international recognition, likening the large-scale use of open space to \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Documenta\" target=\"_blank\" rel=\"noopener\">documenta\u003c/a>, \u003c/em>held every five years in Kassel, Germany.\u003c/p>\n\u003cp>“It’s interesting to talk about these large ideas when the project hasn’t even started,” Moore says. “It’s a way to think about art as a form of civic dialogue ahead of just using art as a way to furnish places.”\u003c/p>\n\u003cfigure id=\"attachment_10826954\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10826954\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-1180x911.jpg\" alt=\"Overview from 'Treasure Island and Yerba Buena Island Design for Development' (Photo: TIDA)\" width=\"640\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-1180x911.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-777x600.jpg 777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview.jpg 1224w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Overview from ‘Treasure Island and Yerba Buena Island Design for Development’ (Photo: TIDA)\u003c/figcaption>\u003c/figure>\n\u003cp>As the SFAC develops its plans, it looks to other island-based art projects for inspiration, especially New York City’s \u003ca href=\"http://govisland.com/\" target=\"_blank\" rel=\"noopener\">Governors Island\u003c/a>. Another former military base, Governors Island transferred to the city in 2003 and now hosts a summer-long series of concerts, art events, open studios, family activity days and site-specific projects, including an iteration of FIGMENT.\u003c/p>\n\u003cp>For Tom DeCaigny, the SFAC’s director of cultural affairs, the Treasure Island development project isn’t just about “placemaking” — a buzzword in the world of urban planning — but, rather, “placekeeping.” That is, honoring Treasure Island’s past and the communities that have shaped it, while recognizing the incredible alterations it will undergo in the years ahead. “As San Francisco is changing, this is really an investment in the role of artists in San Francisco and the artists who have made this city so great,” DeCaigny says.\u003c/p>\n\u003cp>Working collaboratively with TIDA, the architects and designers behind the development, Treasure Island residents and the San Francisco art community, the SFAC’s arts master plan will pinpoint sites for activation and detail a three-year schedule to jump-start a longer-term process. “Arts plans tend to be dry and rote,” Manton says. “I want this to be a dynamic and inspiring document, full of experimentation.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While the physical realization of this plan is still years away, the city’s decision to consider public art alongside street parking and building setbacks represents a very different understanding of what it takes to build a thriving urban community. In this context, public art is cultural cachet for residents, tourists and the city itself. And for Treasure Island, it means yet another costume change in its eight decade history — this time, from being in the wings to taking center stage.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1340,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705046736,
"excerpt": "SFAC looks ahead to enrich Treasure Island's open space with an unprecedented budget for public art.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "SFAC looks ahead to enrich Treasure Island's open space with an unprecedented budget for public art.",
"title": "City Plans to Transform Treasure Island with $50 Million for Public Art | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "City Plans to Transform Treasure Island with $50 Million for Public Art",
"datePublished": "2015-07-21T12:00:44-07:00",
"dateModified": "2024-01-12T00:05:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "city-plans-to-transform-treasure-island-with-50-million-for-public-art",
"status": "publish",
"sticky": false,
"path": "/arts/10826872/city-plans-to-transform-treasure-island-with-50-million-for-public-art",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an art-themed version of the movie axiom, “if you build it, they will come,” the San Francisco Arts Commission (SFAC) hopes to draw locals and tourists alike to Treasure Island — and not just for its views.\u003c/p>\n\u003cp>Over the next 20 years, the man-made tract of land will undergo a massive transformation, on par with its historical shift from world’s fair site to Navy base in 1941. Its population will swell from about 2,000 residents to an estimated 19,000, it will gain a ferry station, up to 500 hotel rooms, and, perhaps most remarkably, $50 million in public art.\u003c/p>\n\u003cfigure id=\"attachment_10826953\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826953\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IslandCenter-e1436399349906.jpg\" alt=\"Rendering from 'Treasure Island and Yerba Buena Island Design for Development' (Photo: TIDA)\" width=\"640\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">Rendering from ‘Treasure Island and Yerba Buena Island Design for Development’ (Photo: TIDA) \u003ccite>(Photo: Courtesy of Treasure Island Development Authority)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the housing crisis continues in San Francisco and East Bay prices rise to match, the promise of 8,000 new units on Treasure Island (25 percent at below-market rates) could be incentive enough to make people pay attention to a part of the city often left off the maps. But Treasure Island’s future includes more than just housing. And the SFAC’s arts master plan, expected by March 2016, seeks to make the spot an art-world destination.\u003c/p>\n\u003cp>The cause is led by Jill Manton, director of the SFAC’s Public Art Trust and Special Initiatives, who met with the mayor’s office ten years ago to make sure public art wasn’t neglected in Treasure Island’s long-term development plans. The SFAC will manage pooled funds from the development’s one percent for art fee, the city’s mandate that a building project expend one percent of the construction cost towards public art.\u003c/p>\n\u003cp>What does this mean for a part of the city currently and conspicuously lacking any public art? Instead of a smattering of monolithic entryway sculptures, the likes of which can be seen in many of San Francisco’s towering new condominiums, Treasure Island will host a deeply considered and generously budgeted public art program, all sited on publicly accessible 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>Think island-wide treasure hunts, dance performances, light displays, wind-activated art and sculpture gardens. Increasingly for the SFAC, public art is more than just graffiti-resistant plaza sculpture. Treasure Island is an opportunity for expansive definitions of public art to be put to the test on an unprecedented scale for the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_10826955\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826955\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/142627758.jpg\" alt=\"View from the Bay Bridge of the 1939 Golden Gate International Exposition, 1939. (Photo: Underwood Archives/Getty Images)\" width=\"594\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/142627758.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/142627758-400x312.jpg 400w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">View from the Bay Bridge of the 1939 Golden Gate International Exposition, 1939. (Photo: Underwood Archives/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Built for the 1939 Golden Gate International Exposition, Treasure Island soon abandoned such frivolity for a Navy station, which remained active until 1997. Today, the site is home to a small, but diverse community, including a Job Corps outpost, the Treasure Island Homeless Development Initiative (providing support and housing for people seeking to exit homelessness) and a single grocery store.\u003c/p>\n\u003cp>May 29, 2015 marked the first major transfer of 270 acres from the Navy to the city of San Francisco, beginning the long-awaited development process of the “Magic Isle” under the direction of the Treasure Island Development Authority (TIDA).\u003c/p>\n\u003cp>In addition to homes and hotels, the development plan includes basic infrastructure updates to Treasure Island’s streets, landscaping, an urban agricultural park and a new area of natural habitat called “The Wilds.” Land transfers will continue over the next seven years.\u003c/p>\n\u003cp>Becky Hogue, a member of TIDA’s Citizen Advisory Board (CAB) and a Treasure Island resident, says she currently knows more about the proposed trees and paving than the public art plan. She hopes the SFAC bucks a trend of excluding residents from the activities going on in their own backyard.\u003c/p>\n\u003cp>“There are a lot of big events on the great lawn,” Hogue says, pointing to Oracle’s annual OpenWorld “appreciation event” and the Treasure Island Music Festival. “But the residents aren’t part of them.”\u003c/p>\n\u003cfigure id=\"attachment_10826961\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10826961\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z.jpg\" alt=\"Benjamin Jones, 'Treehouse,' 2014 (Photo: Alex Taferner/figmentNYC)\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14533842461_9dbb9d456b_z-400x265.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Benjamin Jones, ‘Treehouse,’ 2014 (Photo: Alex Taferner/figmentNYC)\u003c/figcaption>\u003c/figure>\n\u003cp>In an effort to be more inclusive, Manton is considering ways in which to democratize the curatorial process of a designated open space, a so-called “free zone.” The idea is similar to that of \u003ca href=\"http://newyork.figmentproject.org/\" target=\"_blank\" rel=\"noopener\">FIGMENT,\u003c/a> a weekend-long participatory art event that takes place in a number of cities around the country.\u003c/p>\n\u003cp>“We are often approached by artists about displaying their work in the city and it often does not work out for various reasons and logistics — aesthetic quality being one of the primary factors,” Manton says. FIGMENT is open to submissions from “anyone who can bring their project by their own means and de-install it when the event is over.”\u003c/p>\n\u003cp>The Oakland Museum’s \u003ca href=\"http://www.museumca.org/bay-bridge-steel\" target=\"_blank\" rel=\"noopener\">Bay Bridge Steel project\u003c/a> may provide another possibility for increased public collaboration. The program intends to make salvaged parts of the old bridge available to artists as material for public art projects. Could Treasure Island be one such destination for the transformed spans? Manton says it makes perfect sense: “What could be more site specific?”\u003c/p>\n\u003cp>Kathrin Moore, a CAB member since the group’s inception in 2001, is enthusiastic about the SFAC’s involvement. Moore thinks Treasure Island’s public art program, if curated correctly, could gain international recognition, likening the large-scale use of open space to \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Documenta\" target=\"_blank\" rel=\"noopener\">documenta\u003c/a>, \u003c/em>held every five years in Kassel, Germany.\u003c/p>\n\u003cp>“It’s interesting to talk about these large ideas when the project hasn’t even started,” Moore says. “It’s a way to think about art as a form of civic dialogue ahead of just using art as a way to furnish places.”\u003c/p>\n\u003cfigure id=\"attachment_10826954\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10826954\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-1180x911.jpg\" alt=\"Overview from 'Treasure Island and Yerba Buena Island Design for Development' (Photo: TIDA)\" width=\"640\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-1180x911.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-777x600.jpg 777w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview-960x741.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TreasureIslandOverview.jpg 1224w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Overview from ‘Treasure Island and Yerba Buena Island Design for Development’ (Photo: TIDA)\u003c/figcaption>\u003c/figure>\n\u003cp>As the SFAC develops its plans, it looks to other island-based art projects for inspiration, especially New York City’s \u003ca href=\"http://govisland.com/\" target=\"_blank\" rel=\"noopener\">Governors Island\u003c/a>. Another former military base, Governors Island transferred to the city in 2003 and now hosts a summer-long series of concerts, art events, open studios, family activity days and site-specific projects, including an iteration of FIGMENT.\u003c/p>\n\u003cp>For Tom DeCaigny, the SFAC’s director of cultural affairs, the Treasure Island development project isn’t just about “placemaking” — a buzzword in the world of urban planning — but, rather, “placekeeping.” That is, honoring Treasure Island’s past and the communities that have shaped it, while recognizing the incredible alterations it will undergo in the years ahead. “As San Francisco is changing, this is really an investment in the role of artists in San Francisco and the artists who have made this city so great,” DeCaigny says.\u003c/p>\n\u003cp>Working collaboratively with TIDA, the architects and designers behind the development, Treasure Island residents and the San Francisco art community, the SFAC’s arts master plan will pinpoint sites for activation and detail a three-year schedule to jump-start a longer-term process. “Arts plans tend to be dry and rote,” Manton says. “I want this to be a dynamic and inspiring document, full of experimentation.”\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>While the physical realization of this plan is still years away, the city’s decision to consider public art alongside street parking and building setbacks represents a very different understanding of what it takes to build a thriving urban community. In this context, public art is cultural cachet for residents, tourists and the city itself. And for Treasure Island, it means yet another costume change in its eight decade history — this time, from being in the wings to taking center stage.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10826872/city-plans-to-transform-treasure-island-with-50-million-for-public-art",
"authors": [
"61"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_1310",
"arts_1119",
"arts_596"
],
"featImg": "arts_10826873",
"label": "arts"
},
"arts_10849984": {
"type": "posts",
"id": "arts_10849984",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10849984",
"score": null,
"sort": [
1437490800000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1437490800,
"format": "standard",
"title": "A Parent's Guide to Seeing 'Matilda the Musical' with Kids",
"headTitle": "A Parent’s Guide to Seeing ‘Matilda the Musical’ with Kids | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Matilda the Musical’\u003c/h2>\n\u003cdiv class=\"event-desc\">The hit Broadway show about a prodigal little girl based on the beloved story by Roald Dahl stops in San Francisco on its national tour.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 15\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Orpheum Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>I still remember seeing \u003cem>Annie\u003c/em> on stage for the first time when I was a little girl. My sisters and I brought home the cast recording with its bright red and white cover and spun it endlessly on our record player. We sang “It’s A Hard Knock Life” with the conviction of Depression-era orphans.\u003c/p>\n\u003cp>With those memories of \u003cem>Annie\u003c/em> still playing in my mind, I jumped at the chance to take my seven-year-old daughter Rowan to see \u003cem>Matilda The Musical\u003c/em>, based on the book by Roald Dahl. It’s playing at the Orpheum Theatre in San Francisco through August 15th.\u003c/p>\n\u003cp>At the heart of the story is Matilda, a five-year-old prodigy whose idiotic parents can’t understand why she loves to read so much. When Matilda begins school, her sweet teacher Miss Honey recognizes her brilliance and looks out for her. But the school is ruled by an evil headmistress, Miss Trunchbull. She hates the children and punishes them by locking them in the dreaded “Chokey.”\u003c/p>\n\u003cfigure id=\"attachment_10850267\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg\" alt=\"Rowan Kelly stands in front of a poster for 'Matilda the Musical' at the Orpheum Theatre in San Francisco \" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1400x1867.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-960x1280.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Rowan Kelly stands in front of a poster for ‘Matilda the Musical’ at the Orpheum Theatre in San Francisco \u003ccite>(Photo: Erika Kelly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matilda isn’t just smart. She has a fierce mischievous streak, which she uses to put bullies in their place. And that’s just what my daughter Rowan likes best about the character. “My favorite part was when Matilda played tricks on her dad,” Rowan said. “I liked when she put glue in his hat and turned his hair green.” I am now wondering if maybe I should lock up our supply of crazy glue.\u003c/p>\n\u003cp>The theater was filled with lots of little Matilda fans the Sunday matinee performance I attended, including Josie Marroquin, 7, from San Francisco. “My favorite character is Matilda because she’s brave and smart,” Josie said to me. Josie’s favorite part is when Matilda wowed Miss Honey with her mastery of her “times tables.” That thrills Josie, because she’s working on her own times tables, said her grandfather Rex Ridgeway. Personally, I think every little girl needs a heroine who is known for her superior math skills.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like a good Pixar movie, Matilda is one of those family entertainments that is actually entertaining for family members over the age of 12. I loved sweet, smart Matilda. But I enjoyed the idiots and the evildoers even more. While busy repressing young children, Miss Trunchbull manages to do some hilarious singing, dancing and acrobatics. The character is played by Danville native Bryce Ryness, who looks fierce in the headmistress’s gray bun and shoulder-padded military uniform.\u003c/p>\n\u003cfigure id=\"attachment_10850268\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg\" alt=\"Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the 'Matilda The Musical' cast.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1180x767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1400x910.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-960x624.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the ‘Matilda The Musical’ cast. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what of the music? This is a musical after all. The first song, “Miracle,” is kind of a slow starter. Rowan didn’t really understand who all the kids were (“Where’s Matilda?”) and this lengthy salute to badly behaved children grated on my nerves after a while. But the songs improve soon thereafter, when Matilda sings “Naughty.” I think the clever schoolgirl sees into Rowan’s soul when she sings: “We’re told we have to do what we’re told, but surely sometimes you have to be a little bit naughty.”\u003c/p>\n\u003cp>“When I Grow Up,” at the start of the second act, is sweet and melancholy, and earns joy points from Rowan because the kids play on giant swings as they sing. My favorite is “Revolting Children,” a rock anthem with a punk vibe — well, punk for a Broadway show tune anyway.\u003c/p>\n\u003cp>Like many Broadway shows, seeing \u003cem>Matilda\u003c/em> isn’t cheap. Ticket prices start at $45 and there are no discounts for children, though a limited number of limited view rush tickets are available for $40 (cash only) two hours before curtain. Lining up for these rush tickets with small children on one of the busiest and most economically challenged sections of Market Street isn’t necessarily the easiest proposition for many parents, though. Plus, a ticket buyer can only purchase two rush tickets per performance, so taking the kids to a nearby cafe while your partner stands in line isn’t likely.\u003c/p>\n\u003cp>That being said, the musical is worth the money if you can spare it. I even went as far as to drop $25 to buy the CD. We played it on the car ride home, and I can only hope it gets the same love that I gave my old vinyl copy of \u003cem>Annie\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>If you’re thinking of going to see the show…\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Matilda is recommended for kids ages six and up. If you do have a young child, ask an usher for a booster seat so he or she can see over the giant adult heads in the way.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The production requires some staying power: it lasts 2 hours and 34 minutes with one 15 minute intermission. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Matilda the Musical runs through Aug. 15, SHN Orpheum Theater, 1192 Market Street, San Francisco.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 957,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705046738,
"excerpt": "KQED's Erika Kelly and her daughter Rowan take in a matinee performance of 'Matilda the Musical' to figure out if it's really worth plunking down the hefty ticket price to see the hit Broadway show, currently on tour in San Francisco. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "KQED's Erika Kelly and her daughter Rowan take in a matinee performance of 'Matilda the Musical' to figure out if it's really worth plunking down the hefty ticket price to see the hit Broadway show, currently on tour in San Francisco. ",
"title": "A Parent's Guide to Seeing 'Matilda the Musical' with Kids | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Parent's Guide to Seeing 'Matilda the Musical' with Kids",
"datePublished": "2015-07-21T08:00:00-07:00",
"dateModified": "2024-01-12T00:05:38-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-parent-and-childs-guide-to-seeing-matilda-the-musical",
"status": "publish",
"sticky": false,
"path": "/arts/10849984/a-parent-and-childs-guide-to-seeing-matilda-the-musical",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Matilda the Musical’\u003c/h2>\n\u003cdiv class=\"event-desc\">The hit Broadway show about a prodigal little girl based on the beloved story by Roald Dahl stops in San Francisco on its national tour.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 15\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Orpheum Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/matilda-the-musical/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>I still remember seeing \u003cem>Annie\u003c/em> on stage for the first time when I was a little girl. My sisters and I brought home the cast recording with its bright red and white cover and spun it endlessly on our record player. We sang “It’s A Hard Knock Life” with the conviction of Depression-era orphans.\u003c/p>\n\u003cp>With those memories of \u003cem>Annie\u003c/em> still playing in my mind, I jumped at the chance to take my seven-year-old daughter Rowan to see \u003cem>Matilda The Musical\u003c/em>, based on the book by Roald Dahl. It’s playing at the Orpheum Theatre in San Francisco through August 15th.\u003c/p>\n\u003cp>At the heart of the story is Matilda, a five-year-old prodigy whose idiotic parents can’t understand why she loves to read so much. When Matilda begins school, her sweet teacher Miss Honey recognizes her brilliance and looks out for her. But the school is ruled by an evil headmistress, Miss Trunchbull. She hates the children and punishes them by locking them in the dreaded “Chokey.”\u003c/p>\n\u003cfigure id=\"attachment_10850267\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg\" alt=\"Rowan Kelly stands in front of a poster for 'Matilda the Musical' at the Orpheum Theatre in San Francisco \" width=\"450\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-885x1180.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1400x1867.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_6885-960x1280.jpg 960w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Rowan Kelly stands in front of a poster for ‘Matilda the Musical’ at the Orpheum Theatre in San Francisco \u003ccite>(Photo: Erika Kelly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matilda isn’t just smart. She has a fierce mischievous streak, which she uses to put bullies in their place. And that’s just what my daughter Rowan likes best about the character. “My favorite part was when Matilda played tricks on her dad,” Rowan said. “I liked when she put glue in his hat and turned his hair green.” I am now wondering if maybe I should lock up our supply of crazy glue.\u003c/p>\n\u003cp>The theater was filled with lots of little Matilda fans the Sunday matinee performance I attended, including Josie Marroquin, 7, from San Francisco. “My favorite character is Matilda because she’s brave and smart,” Josie said to me. Josie’s favorite part is when Matilda wowed Miss Honey with her mastery of her “times tables.” That thrills Josie, because she’s working on her own times tables, said her grandfather Rex Ridgeway. Personally, I think every little girl needs a heroine who is known for her superior math skills.\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>Like a good Pixar movie, Matilda is one of those family entertainments that is actually entertaining for family members over the age of 12. I loved sweet, smart Matilda. But I enjoyed the idiots and the evildoers even more. While busy repressing young children, Miss Trunchbull manages to do some hilarious singing, dancing and acrobatics. The character is played by Danville native Bryce Ryness, who looks fierce in the headmistress’s gray bun and shoulder-padded military uniform.\u003c/p>\n\u003cfigure id=\"attachment_10850268\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10850268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg\" alt=\"Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the 'Matilda The Musical' cast.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1180x767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-1400x910.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/MatildaTourMabel0989r_resized-960x624.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bryce Ryness (Miss Trunchbull) and Mabel Tyler (Matilda Wormwood) together with members of the ‘Matilda The Musical’ cast. \u003ccite>(Photo: Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what of the music? This is a musical after all. The first song, “Miracle,” is kind of a slow starter. Rowan didn’t really understand who all the kids were (“Where’s Matilda?”) and this lengthy salute to badly behaved children grated on my nerves after a while. But the songs improve soon thereafter, when Matilda sings “Naughty.” I think the clever schoolgirl sees into Rowan’s soul when she sings: “We’re told we have to do what we’re told, but surely sometimes you have to be a little bit naughty.”\u003c/p>\n\u003cp>“When I Grow Up,” at the start of the second act, is sweet and melancholy, and earns joy points from Rowan because the kids play on giant swings as they sing. My favorite is “Revolting Children,” a rock anthem with a punk vibe — well, punk for a Broadway show tune anyway.\u003c/p>\n\u003cp>Like many Broadway shows, seeing \u003cem>Matilda\u003c/em> isn’t cheap. Ticket prices start at $45 and there are no discounts for children, though a limited number of limited view rush tickets are available for $40 (cash only) two hours before curtain. Lining up for these rush tickets with small children on one of the busiest and most economically challenged sections of Market Street isn’t necessarily the easiest proposition for many parents, though. Plus, a ticket buyer can only purchase two rush tickets per performance, so taking the kids to a nearby cafe while your partner stands in line isn’t likely.\u003c/p>\n\u003cp>That being said, the musical is worth the money if you can spare it. I even went as far as to drop $25 to buy the CD. We played it on the car ride home, and I can only hope it gets the same love that I gave my old vinyl copy of \u003cem>Annie\u003c/em>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>If you’re thinking of going to see the show…\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Matilda is recommended for kids ages six and up. If you do have a young child, ask an usher for a booster seat so he or she can see over the giant adult heads in the way.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The production requires some staying power: it lasts 2 hours and 34 minutes with one 15 minute intermission. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Matilda the Musical runs through Aug. 15, SHN Orpheum Theater, 1192 Market Street, San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10849984/a-parent-and-childs-guide-to-seeing-matilda-the-musical",
"authors": [
"3211"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69",
"arts_235",
"arts_967"
],
"tags": [
"arts_596"
],
"featImg": "arts_10850266",
"label": "arts_140"
},
"arts_10840187": {
"type": "posts",
"id": "arts_10840187",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10840187",
"score": null,
"sort": [
1437318007000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1437318007,
"format": "standard",
"title": "Making Sense of Nudity at Halprin Hyde Street Pier Event",
"headTitle": "Making Sense of Nudity at Halprin Hyde Street Pier Event | KQED",
"content": "\u003cp>Golden light slants onto the San Francisco Bay, as Dana Iova-Koga steps forward on the Hyde Street Pier. This is a dance of simple gestures that begins as four people emerge on the pier, carrying a galvanized metal bucket in each hand.\u003c/p>\n\u003cp>The performers put down the buckets full of water, wet their feet, pick up the buckets and walk a few steps. Then they do it again. And again. Slowly and ceremonially, down the pier.\u003c/p>\n\u003cfigure id=\"attachment_10840198\" class=\"wp-caption alignright\" style=\"max-width: 3500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10840198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg\" alt='\"Water Print\" dancers leaving wet footprints on the pier. Left to right: Dana Iova-Koga, Yoshi Asai, Yuko Kaseki, Sherwood Chen, Sten Rudstøm. ' width=\"3500\" height=\"2333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg 3500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-960x640.jpg 960w\" sizes=\"(max-width: 3500px) 100vw, 3500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Water Print” dancers leaving wet footprints on the pier. Left to right: Dana Iova-Koga, Yoshi Asai, Yuko Kaseki, Sherwood Chen, Sten Rudstøm. \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they walk, the audience, distant on the deck of the ferry boat Eureka, sees the performers’ wet footprints form then evaporate in the sunlight and the wind gusting off the water.\u003c/p>\n\u003cp>It’s a moment of relative stillness in the performance of \u003cem>95 Ritual\u003c/em>s, a series developed by San Francisco-based performance art company inkBoat and collaborators to celebrate the 95th birthday of groundbreaking dancer and choreographer, Anna Halprin. And the passage, called “Water Prints,” stands directly in Halprin’s lineage of immersing movement so deeply in place that the environment becomes part of the performance.\u003c/p>\n\u003cp>“For about three minutes it was the most alive, sensual, delightful feeling, just feeling the air, feeling the unrestricted movement of the body,” says Iova-Koga, who spontaneously decided, with two other dancers, to perform this section in the nude last weekend. “I was able to really enjoy that feeing. Until I looked up.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Uh-oh.\u003cbr>\n\u003c/strong>\u003cbr>\nWhen Iova-Koga looked up, she saw two of the company’s producers. She couldn’t see their faces. But she could see their bodies, and they looked a little panicked.\u003c/p>\n\u003cfigure id=\"attachment_10840196\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10840196\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-400x600.jpg\" alt='Marking the boundary between land and sea, in \"95 Rituals.\"' width=\"373\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-960x1440.jpg 960w\" sizes=\"(max-width: 373px) 100vw, 373px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Heekyung Cho, marking the boundary between land and sea, in “95 Rituals.” \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iova-Koga had a sudden, nauseating realization that she had broken the National Park Service (NPS) rules for the use of Hyde Street Pier: The dancers weren’t allowed to be unclothed.\u003c/p>\n\u003cp>“Dark, icky feelings came flooding in,” she says.\u003c/p>\n\u003cp>The NPS cancelled last weekend’s Saturday performance of \u003cem>95 Rituals\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>The legacy\u003c/strong>\u003c/p>\n\u003cp>Halprin has been arrested and praised for her use of nudity in dance over her long career.\u003c/p>\n\u003cp>In a 1967 New York performance, her company dressed and undressed repeatedly in a protest against corporate greed. Halprin was arrested for indecency. But when the dance premiered in Sweden, Halprin says she received a letter from a farmer.\u003c/p>\n\u003cp>“He wrote, ‘Your nude bodies were sacred, like my newborn calves,’” Halprin says of the letter. “‘Sacred and innocent.’” The difference, it seems, was cultural context.\u003c/p>\n\u003cp>\u003cstrong>The nature of transgression \u003c/strong>\u003c/p>\n\u003cp>Halprin’s legacy of transgression encompasses content — subjects like race and nudity — as well as process. The choreographer sees everyday tasks as dance and works to erase the boundary between “performer” and “audience.”\u003c/p>\n\u003cp>A transgressive act, says Shinichi Iova-Koga, inkBoat artistic director (and dancer Dana Iova-Koga’s husband) is also “an act that gives us courage to do something.” It’s like singing in public, a commonly viewed transgression that \u003cem>95 Rituals\u003c/em> invited audience members to join in with at the end of the performance.\u003c/p>\n\u003cp>“The use of nudity is an extension of nature, that’s all,” Halprin says. “It’s as simple as that.” Nudity is also powerful, the choreographer says. So it’s important to know how audience members, particularly children, might receive it.\u003c/p>\n\u003cp>It’s an inkBoat and Halprin standard that artists can “break the score.” Shinichi Iova-Koga says he supports the artistic decision while respecting the park’s position.\u003c/p>\n\u003cp>The main problem, says Lynn Cullivan, spokesman for the San Francisco Maritime National Historic Park, is that the dancers had specifically raised the question of nudity when they were preparing for the event at Hyde Street Pier. Cullivan says the dancers had agreed to abide by the park’s rule.\u003c/p>\n\u003cp>“We cancelled the event for violating the permit,” Cullivan says. “Maybe it could have worked out if we could have prepared people for that, given them a choice.”\u003c/p>\n\u003cp>\u003cstrong>Nudity and a sense of place\u003c/strong>\u003c/p>\n\u003cp>Dana Iova-Koga says she wanted to deepen the contrast between the boisterous indoor dance that came before and the slow simplicity of “Water Prints.” That’s how inkBoat sound artist Suki O’Kane saw it. O’Kane says the absence of clothing, together with the quality of the light and the air, allowed her to absorb a sense of place.\u003c/p>\n\u003cp>“I was bound up in the elegance of these small gestures,” O’Kane says. “Moments like that can awaken us to the extraordinary qualities of where we are right now.”\u003c/p>\n\u003cp>As for the NPS rule, Iova-Koga says she simply forgot about it. And she still can’t figure that one out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve been a good girl all my life,” Iova-Koga says. “I follow the rules. I don’t break them.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 906,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 27
},
"modified": 1705046745,
"excerpt": "The final performance of a piece in honor of the famous choreographer's 95th birthday, '95 Rituals,' was cancelled last Saturday after a surprise moment of rule-breaking. But breaking rules is what Halprin does best. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The final performance of a piece in honor of the famous choreographer's 95th birthday, '95 Rituals,' was cancelled last Saturday after a surprise moment of rule-breaking. But breaking rules is what Halprin does best. ",
"title": "Making Sense of Nudity at Halprin Hyde Street Pier Event | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Making Sense of Nudity at Halprin Hyde Street Pier Event",
"datePublished": "2015-07-19T08:00:07-07:00",
"dateModified": "2024-01-12T00:05:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "making-sense-of-the-anna-halprin-nudity-episode-at-hyde-street-pier",
"status": "publish",
"sticky": false,
"path": "/arts/10840187/making-sense-of-the-anna-halprin-nudity-episode-at-hyde-street-pier",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Golden light slants onto the San Francisco Bay, as Dana Iova-Koga steps forward on the Hyde Street Pier. This is a dance of simple gestures that begins as four people emerge on the pier, carrying a galvanized metal bucket in each hand.\u003c/p>\n\u003cp>The performers put down the buckets full of water, wet their feet, pick up the buckets and walk a few steps. Then they do it again. And again. Slowly and ceremonially, down the pier.\u003c/p>\n\u003cfigure id=\"attachment_10840198\" class=\"wp-caption alignright\" style=\"max-width: 3500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10840198\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg\" alt='\"Water Print\" dancers leaving wet footprints on the pier. Left to right: Dana Iova-Koga, Yoshi Asai, Yuko Kaseki, Sherwood Chen, Sten Rudstøm. ' width=\"3500\" height=\"2333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han.jpg 3500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5G1A3942-Foto-by-Pak-Han-960x640.jpg 960w\" sizes=\"(max-width: 3500px) 100vw, 3500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Water Print” dancers leaving wet footprints on the pier. Left to right: Dana Iova-Koga, Yoshi Asai, Yuko Kaseki, Sherwood Chen, Sten Rudstøm. \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they walk, the audience, distant on the deck of the ferry boat Eureka, sees the performers’ wet footprints form then evaporate in the sunlight and the wind gusting off the water.\u003c/p>\n\u003cp>It’s a moment of relative stillness in the performance of \u003cem>95 Ritual\u003c/em>s, a series developed by San Francisco-based performance art company inkBoat and collaborators to celebrate the 95th birthday of groundbreaking dancer and choreographer, Anna Halprin. And the passage, called “Water Prints,” stands directly in Halprin’s lineage of immersing movement so deeply in place that the environment becomes part of the performance.\u003c/p>\n\u003cp>“For about three minutes it was the most alive, sensual, delightful feeling, just feeling the air, feeling the unrestricted movement of the body,” says Iova-Koga, who spontaneously decided, with two other dancers, to perform this section in the nude last weekend. “I was able to really enjoy that feeing. Until I looked up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Uh-oh.\u003cbr>\n\u003c/strong>\u003cbr>\nWhen Iova-Koga looked up, she saw two of the company’s producers. She couldn’t see their faces. But she could see their bodies, and they looked a little panicked.\u003c/p>\n\u003cfigure id=\"attachment_10840196\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10840196\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-400x600.jpg\" alt='Marking the boundary between land and sea, in \"95 Rituals.\"' width=\"373\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/5J2A7741-Foto-by-Pak-Han-960x1440.jpg 960w\" sizes=\"(max-width: 373px) 100vw, 373px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Heekyung Cho, marking the boundary between land and sea, in “95 Rituals.” \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iova-Koga had a sudden, nauseating realization that she had broken the National Park Service (NPS) rules for the use of Hyde Street Pier: The dancers weren’t allowed to be unclothed.\u003c/p>\n\u003cp>“Dark, icky feelings came flooding in,” she says.\u003c/p>\n\u003cp>The NPS cancelled last weekend’s Saturday performance of \u003cem>95 Rituals\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>The legacy\u003c/strong>\u003c/p>\n\u003cp>Halprin has been arrested and praised for her use of nudity in dance over her long career.\u003c/p>\n\u003cp>In a 1967 New York performance, her company dressed and undressed repeatedly in a protest against corporate greed. Halprin was arrested for indecency. But when the dance premiered in Sweden, Halprin says she received a letter from a farmer.\u003c/p>\n\u003cp>“He wrote, ‘Your nude bodies were sacred, like my newborn calves,’” Halprin says of the letter. “‘Sacred and innocent.’” The difference, it seems, was cultural context.\u003c/p>\n\u003cp>\u003cstrong>The nature of transgression \u003c/strong>\u003c/p>\n\u003cp>Halprin’s legacy of transgression encompasses content — subjects like race and nudity — as well as process. The choreographer sees everyday tasks as dance and works to erase the boundary between “performer” and “audience.”\u003c/p>\n\u003cp>A transgressive act, says Shinichi Iova-Koga, inkBoat artistic director (and dancer Dana Iova-Koga’s husband) is also “an act that gives us courage to do something.” It’s like singing in public, a commonly viewed transgression that \u003cem>95 Rituals\u003c/em> invited audience members to join in with at the end of the performance.\u003c/p>\n\u003cp>“The use of nudity is an extension of nature, that’s all,” Halprin says. “It’s as simple as that.” Nudity is also powerful, the choreographer says. So it’s important to know how audience members, particularly children, might receive it.\u003c/p>\n\u003cp>It’s an inkBoat and Halprin standard that artists can “break the score.” Shinichi Iova-Koga says he supports the artistic decision while respecting the park’s position.\u003c/p>\n\u003cp>The main problem, says Lynn Cullivan, spokesman for the San Francisco Maritime National Historic Park, is that the dancers had specifically raised the question of nudity when they were preparing for the event at Hyde Street Pier. Cullivan says the dancers had agreed to abide by the park’s rule.\u003c/p>\n\u003cp>“We cancelled the event for violating the permit,” Cullivan says. “Maybe it could have worked out if we could have prepared people for that, given them a choice.”\u003c/p>\n\u003cp>\u003cstrong>Nudity and a sense of place\u003c/strong>\u003c/p>\n\u003cp>Dana Iova-Koga says she wanted to deepen the contrast between the boisterous indoor dance that came before and the slow simplicity of “Water Prints.” That’s how inkBoat sound artist Suki O’Kane saw it. O’Kane says the absence of clothing, together with the quality of the light and the air, allowed her to absorb a sense of place.\u003c/p>\n\u003cp>“I was bound up in the elegance of these small gestures,” O’Kane says. “Moments like that can awaken us to the extraordinary qualities of where we are right now.”\u003c/p>\n\u003cp>As for the NPS rule, Iova-Koga says she simply forgot about it. And she still can’t figure that one out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve been a good girl all my life,” Iova-Koga says. “I follow the rules. I don’t break them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10840187/making-sense-of-the-anna-halprin-nudity-episode-at-hyde-street-pier",
"authors": [
"235"
],
"categories": [
"arts_966",
"arts_235"
],
"tags": [
"arts_1310",
"arts_1119",
"arts_596"
],
"featImg": "arts_10840195",
"label": "arts"
},
"news_10603541": {
"type": "posts",
"id": "news_10603541",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10603541",
"score": null,
"sort": [
1437310806000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 72
},
"blocks": [],
"publishDate": 1437310806,
"format": "standard",
"disqusTitle": "Anna Deavere Smith Fights School-to-Prison Pipeline With New Play",
"title": "Anna Deavere Smith Fights School-to-Prison Pipeline With New Play",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003ca href=\"http://annadeaveresmithprojects.net/\" target=\"_blank\">Anna Deavere Smith\u003c/a> is best known for her TV work on \u003ca href=\"http://www.sho.com/sho/nurse-jackie/home\" target=\"_blank\">\"Nurse Jackie\"\u003c/a> and \"The West Wing,\" but she’s been making documentary theater for decades, about race and class.\u003c/p>\n\u003cp>Her latest play, \u003ca href=\"http://www.berkeleyrep.org/season/1415/9293.asp\" target=\"_blank\">“Notes from the Field: Doing Time in Education, The California Chapter”\u003c/a> at Berkeley Repertory Theatre, tackles what social justice groups have dubbed the\u003ca href=\"http://www.pbs.org/wnet/tavissmiley/tsr/education-under-arrest/school-to-prison-pipeline-fact-sheet/\" target=\"_blank\"> school-to-prison pipeline\u003c/a>. That's what happens when black, brown and Native American children are suspended, expelled and even arrested way out of proportion to their numbers in the student population, putting them on a path to juvenile hall or prison.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/215213165\" 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>Smith creates her shows by interviewing people who know the issues firsthand, nearly 150 for \"Notes,\" and then embodying a dozen or more on stage, using quick changes in costume and voice.\u003c/p>\n\u003cp>For instance, \u003ca href=\"http://www.stocktongov.com/government/council/district6.html\" target=\"_blank\">Michael Tubbs\u003c/a>, an African-American city councilman from Stockton, makes an appearance near the beginning of the play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Whenever I talk to young people in Stockton,\" says Smith as Tubbs, \"I always quote the \u003ca href=\"http://allpoetry.com/The-Rose-That-Grew-From-Concrete\" target=\"_blank\">Tupac (Shakur) poem about the rose that grew from concrete\u003c/a>, where he talks about, 'Long live the rose that grew from concrete when no one else cares.' \"\u003c/p>\n\u003cp>A note of hope, tempered by another observation from Smith in her role as Tubbs.\u003c/p>\n\u003cp>\"For a lot of men of color in Stockton, there’s almost this prevailing sense of nihilism. You have an undercaste of young people who just feel forgotten, neglected and just angry, and don’t know what to be angry at.\"\u003c/p>\n\u003cp>Among the other characters: Abby Abinanti, chief judge of the Yurok Tribal Court, and Taos Proctor, a Yurok fisherman, who Abinanti helped rescue from the school-to-prison system.\u003c/p>\n\u003cp>The monologues, so vivid in Smith's impersonations, are underscored with musical backing from bassist, bandleader and composer Marcus Shelby.\u003c/p>\n\u003cfigure id=\"attachment_10603544\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\">\u003cimg class=\"wp-image-10603544 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\" alt='Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\"' width=\"373\" height=\"560\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\" \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one transition between scenes, Shelby improvises on \"\u003ca href=\"https://www.youtube.com/watch?v=OGd6CdtOqEE\" target=\"_blank\">Spanish Harlem,\u003c/a>\" a old song that restates the theme of the Tupac poem:\u003c/p>\n\u003cp>\"There is a rose in Spanish Harlem...\u003c/p>\n\u003cp>It's growing in the street\u003cbr>\nRight up through the concrete.\"\u003c/p>\n\u003cp>Shelby plays that song and a lot of blues throughout the play because, he says, the blues capture the pain of the human condition.\u003c/p>\n\u003cp>\"It’s the dichotomy between tragedy and triumph,\" Shelby said. \"All the ways we feel life: anger happiness, love, tension, release.\u003c/p>\n\u003cp>The play is highly personal for Smith, whose mother was a teacher at a school in a poor Baltimore neighborhood.\u003c/p>\n\u003cp>\"So in my house,\" Smith said, \"my mother would bring home these great big boys because she believed there was no such thing as a non-reader. So if someone was in her sixth-grade class, they weren’t leaving sixth grade until they learned to read.\"\u003c/p>\n\u003cp>Smith argues, during an interview in a break from rehearsal recently, and in her characters on stage, that these days teachers are taking an unfair share of the blame for funneling troubled students into the school-to-prison pipeline.\u003c/p>\n\u003cp>\"Because it is a broader problem that is linked to poverty,\" Smith said, \"and the question is how do we help people become productive citizens to their families, to their country and to their communities.\"\u003c/p>\n\u003cp>The play has a surprise built into its second act, even for audiences familiar with Smith’s discursive storytelling.\u003c/p>\n\u003cp>At intermission during a recent preview, 20 facilitators, some from the writing corps \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\">Youth Speaks\u003c/a>, broke the audience up into groups of 30 or so for a brisk whiteboard exercise.\u003c/p>\n\u003cfigure id=\"attachment_10603673\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864.jpg\">\u003cimg class=\"wp-image-10603673 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg\" alt=\"Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's "Notes from the Field: Doing Time in Education, The California Chapter.”\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1400x1050.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's \"Notes from the Field: Doing Time in Education, The California Chapter.” \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As audience members munched packets of cookies, the kind you might find in a schoolkid's lunchbox, poet Dahlak Brathwaite asked the audience to accept the challenge implicit in Smith's play, \"to be part of the effort to change (the school-to-prison pipeline).\"\u003c/p>\n\u003cp>In the play, Smith portrays a conversation with Sherrilyn Ifill, president of the NAACP Legal Defense and Education Fund, in which Ifill calls for the U.S. to invest in education in the same way it invested in the U.S. highway system and the suburbs.\u003c/p>\n\u003cp>But audience members in our group were less ambitious. One man said, \"To create the society I want to live in, I would be willing to pay higher taxes.\"\u003c/p>\n\u003cp>Another said, \"I will vote.\"\u003c/p>\n\u003cp>Asked what she thought of the exercise, Sybil Cobbs of Oakland, part of another group, said, \"I actually loved it. We’re changing our minds, and therefore everything will follow in terms of our actions.\"\u003c/p>\n\u003cp>But she added, \"One young man in our group said, ‘What change can we make in three years?’ And it was heart-wrenching, that our young people feel so hopeless.\"\u003c/p>\n\u003cp>The Act Two discussions raise the question of whether theater, or any art form, can change society. One scholar notes that plays agitating for change are as old the anti-war plays of Aristophanes, and as American as the Federal Theater Project of the Great Depression.\u003c/p>\n\u003cp>Smith herself bristled a bit when I asked the question.\u003c/p>\n\u003cp>\"It’s so obvious,\" she said, \"that art is a form of expression that gets beyond the official language. That complicates things. It has the opportunity to really draw more people in, and particularly in a place in their heart, where they might just make an adjustment about how they think about things.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smith will be trying to motivate people to change the school-to-prison pipeline through Aug. 2 at Berkeley Rep. Then she and Berkeley Rep are working on plans to take the show to Yurok country in Northern California, and to three cities on the East Coast.\u003c/p>\n\n",
"disqusIdentifier": "10603541 http://ww2.kqed.org/news/?p=10603541",
"disqusUrl": "https://ww2.kqed.org/news/2015/07/19/anna-deaveare-smith-fights-the-school-to-prison-pipeline-with-theater/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1041,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 33
},
"modified": 1437183491,
"excerpt": "'Notes from the Field' at Berkeley Rep takes a look at education in the United States.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "'Notes from the Field' at Berkeley Rep takes a look at education in the United States.",
"title": "Anna Deavere Smith Fights School-to-Prison Pipeline With New Play | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Anna Deavere Smith Fights School-to-Prison Pipeline With New Play",
"datePublished": "2015-07-19T06:00:06-07:00",
"dateModified": "2015-07-17T18:38:11-07:00",
"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": "anna-deaveare-smith-fights-the-school-to-prison-pipeline-with-theater",
"status": "publish",
"path": "/news/10603541/anna-deaveare-smith-fights-the-school-to-prison-pipeline-with-theater",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://annadeaveresmithprojects.net/\" target=\"_blank\">Anna Deavere Smith\u003c/a> is best known for her TV work on \u003ca href=\"http://www.sho.com/sho/nurse-jackie/home\" target=\"_blank\">\"Nurse Jackie\"\u003c/a> and \"The West Wing,\" but she’s been making documentary theater for decades, about race and class.\u003c/p>\n\u003cp>Her latest play, \u003ca href=\"http://www.berkeleyrep.org/season/1415/9293.asp\" target=\"_blank\">“Notes from the Field: Doing Time in Education, The California Chapter”\u003c/a> at Berkeley Repertory Theatre, tackles what social justice groups have dubbed the\u003ca href=\"http://www.pbs.org/wnet/tavissmiley/tsr/education-under-arrest/school-to-prison-pipeline-fact-sheet/\" target=\"_blank\"> school-to-prison pipeline\u003c/a>. That's what happens when black, brown and Native American children are suspended, expelled and even arrested way out of proportion to their numbers in the student population, putting them on a path to juvenile hall or prison.\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/215213165&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/215213165'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Smith creates her shows by interviewing people who know the issues firsthand, nearly 150 for \"Notes,\" and then embodying a dozen or more on stage, using quick changes in costume and voice.\u003c/p>\n\u003cp>For instance, \u003ca href=\"http://www.stocktongov.com/government/council/district6.html\" target=\"_blank\">Michael Tubbs\u003c/a>, an African-American city councilman from Stockton, makes an appearance near the beginning of the play.\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>\"Whenever I talk to young people in Stockton,\" says Smith as Tubbs, \"I always quote the \u003ca href=\"http://allpoetry.com/The-Rose-That-Grew-From-Concrete\" target=\"_blank\">Tupac (Shakur) poem about the rose that grew from concrete\u003c/a>, where he talks about, 'Long live the rose that grew from concrete when no one else cares.' \"\u003c/p>\n\u003cp>A note of hope, tempered by another observation from Smith in her role as Tubbs.\u003c/p>\n\u003cp>\"For a lot of men of color in Stockton, there’s almost this prevailing sense of nihilism. You have an undercaste of young people who just feel forgotten, neglected and just angry, and don’t know what to be angry at.\"\u003c/p>\n\u003cp>Among the other characters: Abby Abinanti, chief judge of the Yurok Tribal Court, and Taos Proctor, a Yurok fisherman, who Abinanti helped rescue from the school-to-prison system.\u003c/p>\n\u003cp>The monologues, so vivid in Smith's impersonations, are underscored with musical backing from bassist, bandleader and composer Marcus Shelby.\u003c/p>\n\u003cfigure id=\"attachment_10603544\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\">\u003cimg class=\"wp-image-10603544 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\" alt='Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\"' width=\"373\" height=\"560\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\" \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one transition between scenes, Shelby improvises on \"\u003ca href=\"https://www.youtube.com/watch?v=OGd6CdtOqEE\" target=\"_blank\">Spanish Harlem,\u003c/a>\" a old song that restates the theme of the Tupac poem:\u003c/p>\n\u003cp>\"There is a rose in Spanish Harlem...\u003c/p>\n\u003cp>It's growing in the street\u003cbr>\nRight up through the concrete.\"\u003c/p>\n\u003cp>Shelby plays that song and a lot of blues throughout the play because, he says, the blues capture the pain of the human condition.\u003c/p>\n\u003cp>\"It’s the dichotomy between tragedy and triumph,\" Shelby said. \"All the ways we feel life: anger happiness, love, tension, release.\u003c/p>\n\u003cp>The play is highly personal for Smith, whose mother was a teacher at a school in a poor Baltimore neighborhood.\u003c/p>\n\u003cp>\"So in my house,\" Smith said, \"my mother would bring home these great big boys because she believed there was no such thing as a non-reader. So if someone was in her sixth-grade class, they weren’t leaving sixth grade until they learned to read.\"\u003c/p>\n\u003cp>Smith argues, during an interview in a break from rehearsal recently, and in her characters on stage, that these days teachers are taking an unfair share of the blame for funneling troubled students into the school-to-prison pipeline.\u003c/p>\n\u003cp>\"Because it is a broader problem that is linked to poverty,\" Smith said, \"and the question is how do we help people become productive citizens to their families, to their country and to their communities.\"\u003c/p>\n\u003cp>The play has a surprise built into its second act, even for audiences familiar with Smith’s discursive storytelling.\u003c/p>\n\u003cp>At intermission during a recent preview, 20 facilitators, some from the writing corps \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\">Youth Speaks\u003c/a>, broke the audience up into groups of 30 or so for a brisk whiteboard exercise.\u003c/p>\n\u003cfigure id=\"attachment_10603673\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864.jpg\">\u003cimg class=\"wp-image-10603673 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg\" alt=\"Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's "Notes from the Field: Doing Time in Education, The California Chapter.”\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1400x1050.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's \"Notes from the Field: Doing Time in Education, The California Chapter.” \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As audience members munched packets of cookies, the kind you might find in a schoolkid's lunchbox, poet Dahlak Brathwaite asked the audience to accept the challenge implicit in Smith's play, \"to be part of the effort to change (the school-to-prison pipeline).\"\u003c/p>\n\u003cp>In the play, Smith portrays a conversation with Sherrilyn Ifill, president of the NAACP Legal Defense and Education Fund, in which Ifill calls for the U.S. to invest in education in the same way it invested in the U.S. highway system and the suburbs.\u003c/p>\n\u003cp>But audience members in our group were less ambitious. One man said, \"To create the society I want to live in, I would be willing to pay higher taxes.\"\u003c/p>\n\u003cp>Another said, \"I will vote.\"\u003c/p>\n\u003cp>Asked what she thought of the exercise, Sybil Cobbs of Oakland, part of another group, said, \"I actually loved it. We’re changing our minds, and therefore everything will follow in terms of our actions.\"\u003c/p>\n\u003cp>But she added, \"One young man in our group said, ‘What change can we make in three years?’ And it was heart-wrenching, that our young people feel so hopeless.\"\u003c/p>\n\u003cp>The Act Two discussions raise the question of whether theater, or any art form, can change society. One scholar notes that plays agitating for change are as old the anti-war plays of Aristophanes, and as American as the Federal Theater Project of the Great Depression.\u003c/p>\n\u003cp>Smith herself bristled a bit when I asked the question.\u003c/p>\n\u003cp>\"It’s so obvious,\" she said, \"that art is a form of expression that gets beyond the official language. That complicates things. It has the opportunity to really draw more people in, and particularly in a place in their heart, where they might just make an adjustment about how they think about things.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smith will be trying to motivate people to change the school-to-prison pipeline through Aug. 2 at Berkeley Rep. Then she and Berkeley Rep are working on plans to take the show to Yurok country in Northern California, and to three cities on the East Coast.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10603541/anna-deaveare-smith-fights-the-school-to-prison-pipeline-with-theater",
"authors": [
"32"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_18540",
"news_6188",
"news_8",
"news_13"
],
"tags": [
"news_17286"
],
"featImg": "news_10605078",
"label": "news_72"
}
},
"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": 3468,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3758,
"relation": "eq"
},
"items": [
"arts_10878045",
"arts_10876123",
"arts_10865314",
"news_10618809",
"arts_10865389",
"arts_10858301",
"news_10614426",
"arts_10856058",
"arts_10826872",
"arts_10849984",
"arts_10840187",
"news_10603541"
],
"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_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_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_626": {
"type": "terms",
"id": "arts_626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 634,
"slug": "the-do-list-featured",
"isLoading": false,
"link": "/arts/tag/the-do-list-featured"
},
"news_6944": {
"type": "terms",
"id": "news_6944",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "6944",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/News-Fix-Logo-Web-Banners-04.png",
"name": "News Fix",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "The News Fix is a daily news podcast from KQED that breaks down the latest headlines and provides in-depth analysis of the stories that matter to the Bay Area.",
"title": "News Fix - Daily Dose of Bay Area News | KQED",
"ogDescription": null
},
"ttid": 6968,
"slug": "news-fix",
"isLoading": false,
"link": "/news/program/news-fix"
},
"news_223": {
"type": "terms",
"id": "news_223",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "223",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED News",
"ogDescription": null
},
"ttid": 231,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/news/category/arts-and-culture"
},
"news_19971": {
"type": "terms",
"id": "news_19971",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "19971",
"found": true
},
"relationships": {},
"featImg": null,
"name": "black lives matter",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "black lives matter Archives | KQED News",
"ogDescription": null
},
"ttid": 19988,
"slug": "black-lives-matter",
"isLoading": false,
"link": "/news/tag/black-lives-matter"
},
"news_38": {
"type": "terms",
"id": "news_38",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "38",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED News",
"ogDescription": null
},
"ttid": 58,
"slug": "san-francisco",
"isLoading": false,
"link": "/news/tag/san-francisco"
},
"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_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_1119": {
"type": "terms",
"id": "arts_1119",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1119",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1136,
"slug": "feature",
"isLoading": false,
"link": "/arts/tag/feature"
},
"arts_901": {
"type": "terms",
"id": "arts_901",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "901",
"found": true
},
"relationships": {},
"featImg": null,
"name": "visual art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "visual art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 919,
"slug": "visual-art",
"isLoading": false,
"link": "/arts/tag/visual-art"
},
"news_356": {
"type": "terms",
"id": "news_356",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "356",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Science",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Science Archives | KQED News",
"ogDescription": null
},
"ttid": 364,
"slug": "science",
"isLoading": false,
"link": "/news/category/science"
},
"news_4463": {
"type": "terms",
"id": "news_4463",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "4463",
"found": true
},
"relationships": {},
"featImg": null,
"name": "wildfires",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "wildfires Archives | KQED News",
"ogDescription": null
},
"ttid": 4482,
"slug": "wildfires",
"isLoading": false,
"link": "/news/tag/wildfires"
},
"news_18363": {
"type": "terms",
"id": "news_18363",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "18363",
"found": true
},
"relationships": {},
"name": "Wragg Fire",
"slug": "wragg-fire",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Wragg Fire | KQED News",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null,
"metaRobotsNoIndex": "noindex"
},
"ttid": 18397,
"isLoading": false,
"link": "/news/tag/wragg-fire"
},
"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_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"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_18540": {
"type": "terms",
"id": "news_18540",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "18540",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Education",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Education Archives | KQED News",
"ogDescription": null
},
"ttid": 2595,
"slug": "education",
"isLoading": false,
"link": "/news/category/education"
},
"news_6188": {
"type": "terms",
"id": "news_6188",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "6188",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Law and Justice",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Law and Justice Archives | KQED News",
"ogDescription": null
},
"ttid": 6212,
"slug": "law-and-justice",
"isLoading": false,
"link": "/news/category/law-and-justice"
},
"news_8": {
"type": "terms",
"id": "news_8",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "8",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED News",
"ogDescription": null
},
"ttid": 8,
"slug": "news",
"isLoading": false,
"link": "/news/category/news"
},
"news_13": {
"type": "terms",
"id": "news_13",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "13",
"found": true
},
"relationships": {},
"name": "Politics",
"slug": "politics",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "Politics | KQED News",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13,
"isLoading": false,
"link": "/news/category/politics"
},
"news_17286": {
"type": "terms",
"id": "news_17286",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17286",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tcr",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tcr Archives | KQED News",
"ogDescription": null
},
"ttid": 17318,
"slug": "tcr",
"isLoading": false,
"link": "/news/tag/tcr"
}
},
"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": {}
}
}
}