window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"news_10560892": {
"type": "attachments",
"id": "news_10560892",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10560892",
"found": true
},
"parent": 10560733,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15462_excon-coffee-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15462_excon-coffee-qut-400x300.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 300
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15462_excon-coffee-qut-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15462_excon-coffee-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15462_excon-coffee-qut.jpg",
"width": 1600,
"height": 1200
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15462_excon-coffee-qut-1440x1080.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 1080
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15462_excon-coffee-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15462_excon-coffee-qut-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15462_excon-coffee-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15462_excon-coffee-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15462_excon-coffee-qut-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15462_excon-coffee-qut-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15462_excon-coffee-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1434149558,
"modified": 1434153208,
"caption": "Big House Beans owner John Krause brewing coffee at his cafe.",
"description": "Big House Beans founder and owner John Krause brewing a chemex coffee at his cafe.",
"title": "RS15462_excon coffee-qut",
"credit": "Tiffany Camhi/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10560671": {
"type": "attachments",
"id": "news_10560671",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10560671",
"found": true
},
"parent": 10560616,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera-400x300.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 300
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera.jpg",
"width": 1920,
"height": 1440
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera-1440x1080.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 1080
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1434136938,
"modified": 1434136984,
"caption": "Herrera says he composed his very first radio poem during an interview with The California Report's Scott Shafer. ",
"description": "Herrera says he composed his very first radio poem during an interview with The California Report's Scott Shafer. ",
"title": "herrera",
"credit": "Sasha Khokha/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10762704": {
"type": "attachments",
"id": "arts_10762704",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10762704",
"found": true
},
"parent": 10753290,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAINMJF1967b-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAINMJF1967b-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAINMJF1967b.jpg",
"width": 943,
"height": 530
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAINMJF1967b-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAINMJF1967b-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAINMJF1967b-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAINMJF1967b-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAINMJF1967b-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAINMJF1967b-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1434312613,
"modified": 1434312624,
"caption": "Ornette Coleman performs at the 1967 Monterey Jazz Festival with David Izenzon. (Photo courtesy Monterey Jazz Festival)",
"description": "Ornette Coleman performs at the 1967 Monterey Jazz Festival with David Izenzon. ",
"title": "OrnetteMAINMJF1967b",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10752589": {
"type": "attachments",
"id": "arts_10752589",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10752589",
"found": true
},
"parent": 10752586,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAIN-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAIN-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAIN.jpg",
"width": 800,
"height": 449
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAIN-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAIN-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAIN-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAIN-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAIN-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/OrnetteMAIN-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1434040543,
"modified": 1434040587,
"caption": "Ornette Coleman performs during the North Sea Jazz Festival in 2010. (Photo: Peter Van Breukelen/Redferns/Getty Images)",
"description": "Ornette Coleman performs during the North Sea Jazz Festival in 2010.",
"title": "OrnetteMAIN",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10752448": {
"type": "attachments",
"id": "arts_10752448",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10752448",
"found": true
},
"parent": 10752447,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-960x616.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 616
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736.jpg",
"width": 800,
"height": 450
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-1180x757.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 757
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-1180x757.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 757
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/ap100305034496_custom-b330284c7041b8e35a2bba302c2fa745ec85984e-e1434038071736-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1434037981,
"modified": 1434038159,
"caption": "British actor Sir Christopher Lee in London in 2010. (Photo by Joel Ryan/AP)",
"description": "British actor Sir Christopher Lee in London in 2010.",
"title": "British actor Sir Christopher Lee in London in 2010.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10556736": {
"type": "attachments",
"id": "news_10556736",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10556736",
"found": true
},
"parent": 10556735,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS7744_mission_district_0138_web-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS7744_mission_district_0138_web-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS7744_mission_district_0138_web-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS7744_mission_district_0138_web-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS7744_mission_district_0138_web-e1585868818231.jpg",
"width": 1500,
"height": 1000
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS7744_mission_district_0138_web-1440x960.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 960
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS7744_mission_district_0138_web-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS7744_mission_district_0138_web-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS7744_mission_district_0138_web-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS7744_mission_district_0138_web-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS7744_mission_district_0138_web-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS7744_mission_district_0138_web-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS7744_mission_district_0138_web-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1433882552,
"modified": 1433894406,
"caption": "La Victoria Bakery, established in 1951, is among the city's historic small businesses. Panaderías, or bakeries, are a staple in the Mission.",
"description": null,
"title": "RS7744_mission_district_0138_web",
"credit": "Sara Bloomberg/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10557340": {
"type": "attachments",
"id": "news_10557340",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10557340",
"found": true
},
"parent": 10557292,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera11-94c0ecb29197da191bb81d0e9ce8f54160b5949c-s600-c85-400x300.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 300
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera11-94c0ecb29197da191bb81d0e9ce8f54160b5949c-s600-c85-600x372.jpg",
"width": 600,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera11-94c0ecb29197da191bb81d0e9ce8f54160b5949c-s600-c85.jpg",
"width": 600,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera11-94c0ecb29197da191bb81d0e9ce8f54160b5949c-s600-c85-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera11-94c0ecb29197da191bb81d0e9ce8f54160b5949c-s600-c85-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera11-94c0ecb29197da191bb81d0e9ce8f54160b5949c-s600-c85-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera11-94c0ecb29197da191bb81d0e9ce8f54160b5949c-s600-c85-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/herrera11-94c0ecb29197da191bb81d0e9ce8f54160b5949c-s600-c85-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1433920663,
"modified": 1433920714,
"caption": "Juan Felipe Herrera, named U.S. poet laureate. ",
"description": null,
"title": "Juan Felipe Herrera",
"credit": "Blue Flower Arts via NPR",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10556722": {
"type": "attachments",
"id": "news_10556722",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10556722",
"found": true
},
"parent": 10552353,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Mattachine-2-1032x576.png",
"width": 1032,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Mattachine-2-400x273.png",
"width": 400,
"mimeType": "image/png",
"height": 273
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Mattachine-2-960x655.png",
"width": 960,
"mimeType": "image/png",
"height": 655
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Mattachine-2-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Mattachine-2.png",
"width": 1032,
"height": 704
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Mattachine-2-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Mattachine-2-800x546.png",
"width": 800,
"mimeType": "image/png",
"height": 546
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Mattachine-2-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Mattachine-2-75x75.png",
"width": 75,
"mimeType": "image/png",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Mattachine-2-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Mattachine-2-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
}
},
"publishDate": 1433881230,
"modified": 1433888430,
"caption": "\"The Rejected\" is considered the first documentary about homosexuality in the U.S.",
"description": "\"The Rejected\" is considered the first documentary about homosexuality in the U.S.",
"title": "Mattachine 2",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10733425": {
"type": "attachments",
"id": "arts_10733425",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10733425",
"found": true
},
"parent": 10730524,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/Posterv2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/Posterv2-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/Posterv2-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/Posterv2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/Posterv2.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/Posterv2-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/Posterv2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/Posterv2-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/Posterv2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/Posterv2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/Posterv2-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/Posterv2-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/Posterv2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1433542378,
"modified": 1433542378,
"caption": null,
"description": null,
"title": "Posterv2",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10552037": {
"type": "attachments",
"id": "news_10552037",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10552037",
"found": true
},
"parent": 10532823,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Carvajal-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Carvajal-400x370.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 370
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Carvajal-960x888.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 888
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Carvajal-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Carvajal.jpg",
"width": 1920,
"height": 1775
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Carvajal-1440x1331.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 1331
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Carvajal-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Carvajal-800x740.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 740
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Carvajal-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Carvajal-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Carvajal-1180x1091.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 1091
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Carvajal-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/06/Carvajal-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1433528527,
"modified": 1433528561,
"caption": "Carlos Carvajal performs a Filipino dance in the 1960s. Carvajal is now the co-artistic director of the San Francisco Ethnic Dance Festival.",
"description": "Carlos Carvajal performs a Filipino dance in the 1960s. Carvajal is now the co-artistic director of the San Francisco Ethnic Dance Festival.",
"title": "Carvajal",
"credit": "Courtesy of Carlos Carvajal",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10702231": {
"type": "attachments",
"id": "arts_10702231",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10702231",
"found": true
},
"parent": 0,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Scott-Vermeire-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Scott-Vermeire-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Scott-Vermeire.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Scott-Vermeire-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Scott-Vermeire-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Scott-Vermeire-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Scott-Vermeire-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Scott-Vermeire-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/05/Scott-Vermeire-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1432761826,
"modified": 1432761853,
"caption": "Scott Vermeire (Courtesy of scottvermeire.com)",
"description": null,
"title": "Scott Vermeire",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10726635": {
"type": "attachments",
"id": "arts_10726635",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10726635",
"found": true
},
"parent": 10726174,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/carousel-item-1-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/carousel-item-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/carousel-item-1.jpg",
"width": 740,
"height": 417
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/carousel-item-1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/carousel-item-1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/carousel-item-1-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/carousel-item-1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/carousel-item-1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1433369254,
"modified": 1433369623,
"caption": "The store at 2499 Telegraph served as a hub for used book lovers since 1964.",
"description": null,
"title": "carousel-item-1",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_10752586": {
"type": "authors",
"id": "byline_arts_10752586",
"meta": {
"override": true
},
"slug": "byline_arts_10752586",
"name": "Howard Mandel",
"isLoading": false
},
"byline_arts_10752447": {
"type": "authors",
"id": "byline_arts_10752447",
"meta": {
"override": true
},
"slug": "byline_arts_10752447",
"name": "Eyder Peralta",
"isLoading": false
},
"byline_news_10557292": {
"type": "authors",
"id": "byline_news_10557292",
"meta": {
"override": true
},
"slug": "byline_news_10557292",
"name": "\u003cstrong>\u003ca href=\"https://twitter.com/DCArtBeat\" target=\"_blank\">Brett Zongker\u003c/a>\u003cbr />Associated Press\u003cstrong>",
"isLoading": false
},
"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"
},
"dmarcus": {
"type": "authors",
"id": "181",
"meta": {
"index": "authors_1716337520",
"id": "181",
"found": true
},
"name": "David Markus",
"firstName": "David",
"lastName": "Marcus",
"slug": "dmarcus",
"email": "dmarkus@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Arts Executive",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/d54a3e2a64c4c70d0781a6095e8b37fb?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "David Markus | KQED",
"description": "Arts Executive",
"ogImgSrc": "https://secure.gravatar.com/avatar/d54a3e2a64c4c70d0781a6095e8b37fb?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d54a3e2a64c4c70d0781a6095e8b37fb?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/dmarcus"
},
"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": "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"
},
"aliceldaniel": {
"type": "authors",
"id": "208",
"meta": {
"index": "authors_1716337520",
"id": "208",
"found": true
},
"name": "Alice Daniel",
"firstName": "Alice",
"lastName": "Daniel",
"slug": "aliceldaniel",
"email": "adaniel@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Alice Daniel loves the listening aspect of reporting because she gets to briefly walk in other people’s shoes. She has rappelled down into caves and gone up in helicopters for KQED’s The California Report but her favorite place to pursue a story is the High Sierra or any family-run bakery, of course. Alice has a masters in journalism from Columbia University and teaches at Fresno State. She is a California Healthline Regional Correspondent and a frequent contributor to Success magazine. In her free time, she skis and hikes, throws pottery, practices piano and looks out the window.",
"avatar": "https://secure.gravatar.com/avatar/e611aa06593b114a67f9f123a8e875ad?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "stateofhealth",
"roles": [
"author"
]
}
],
"headData": {
"title": "Alice Daniel | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/e611aa06593b114a67f9f123a8e875ad?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/e611aa06593b114a67f9f123a8e875ad?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/aliceldaniel"
},
"bgoebel": {
"type": "authors",
"id": "214",
"meta": {
"index": "authors_1716337520",
"id": "214",
"found": true
},
"name": "Bryan Goebel",
"firstName": "Bryan",
"lastName": "Goebel",
"slug": "bgoebel",
"email": "bgoebel@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Bryan Goebel is a reporter focused on transportation and housing issues. He was previously the editor of Streetsblog San Francisco, and an anchor/editor at KCBS Radio. He's a lifelong Californian and has also worked at radio stations in Barstow, Redding and Sacramento.",
"avatar": "https://secure.gravatar.com/avatar/7fdd6b065bfe9a23a71bcfa80848df88?s=600&d=blank&r=g",
"twitter": "velobry",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "stateofhealth",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Bryan Goebel | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/7fdd6b065bfe9a23a71bcfa80848df88?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/7fdd6b065bfe9a23a71bcfa80848df88?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/bgoebel"
},
"samharnett": {
"type": "authors",
"id": "253",
"meta": {
"index": "authors_1716337520",
"id": "253",
"found": true
},
"name": "Sam Harnett",
"firstName": "Sam",
"lastName": "Harnett",
"slug": "samharnett",
"email": "samharnett@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Sam Harnett covered tech and work at KQED. He is the co-creator of \u003cem>\u003ca href=\"http://www.theworldaccordingtosound.org\">The World According to Sound\u003c/a>,\u003c/em> a 90-second podcast that features different sounds and the stories behind them.\r\n\r\nBefore coming to KQED, Sam worked as an independent reporter who contributed regularly to \u003cem>The California Report, Marketplace,\u003c/em> \u003cem>The World \u003c/em>and NPR.",
"avatar": "https://secure.gravatar.com/avatar/2538b972ac02f2b9546c7a6c59a0f3d0?s=600&d=blank&r=g",
"twitter": "Samwharnett",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"edit_others_posts",
"subscriber"
]
},
{
"site": "stateofhealth",
"roles": [
"author"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "quest",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Sam Harnett | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/2538b972ac02f2b9546c7a6c59a0f3d0?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/2538b972ac02f2b9546c7a6c59a0f3d0?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/samharnett"
},
"tcamhi": {
"type": "authors",
"id": "3251",
"meta": {
"index": "authors_1716337520",
"id": "3251",
"found": true
},
"name": "Tiffany Camhi",
"firstName": null,
"lastName": null,
"slug": "tcamhi",
"email": "tiffanycamhi@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/aca1971530f63a23abcf35486f9f9ff6?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Tiffany Camhi | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/aca1971530f63a23abcf35486f9f9ff6?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/aca1971530f63a23abcf35486f9f9ff6?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/tcamhi"
},
"asingh": {
"type": "authors",
"id": "7235",
"meta": {
"index": "authors_1716337520",
"id": "7235",
"found": true
},
"name": "Abhi Singh",
"firstName": "Abhi",
"lastName": "Singh",
"slug": "asingh",
"email": "asingh@KQED.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/0a221f8ba680e55e147ee49e20fb590e?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Abhi Singh | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/0a221f8ba680e55e147ee49e20fb590e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/0a221f8ba680e55e147ee49e20fb590e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/asingh"
},
"esilvers": {
"type": "authors",
"id": "7237",
"meta": {
"index": "authors_1716337520",
"id": "7237",
"found": true
},
"name": "Emma Silvers",
"firstName": "Emma",
"lastName": "Silvers",
"slug": "esilvers",
"email": "esilvers@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Emma Silvers is an editor at KQED Arts and a former digital producer at KQED News. Born and raised in the Bay Area, she has previously been an arts and entertainment editor at the \u003cem>San Francisco Chronicle\u003c/em>, \u003cem>SF Weekly\u003c/em> and the \u003cem>San Francisco Bay Guardian.\u003c/em> \u003ca href=\"https://www.emmasilvers.com\">Her work\u003c/a> has also appeared in \u003cem>Rolling Stone\u003c/em>, Pitchfork and \u003cem>Mother Jones\u003c/em>. In 2017 she was the recipient of the Society of Professional Journalists-Northern California's award for arts and culture reporting. In 1993 she \u003ca href=\"https://www.kqed.org/pop/16759/wait-what-my-coworker-was-a-voice-over-hyperventilator-for-jurassic-park\">hyperventilated in \u003cem>Jurassic Park\u003c/em>\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twitter": "emmaruthless",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"contributor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Emma Silvers | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/esilvers"
},
"pzaveri": {
"type": "authors",
"id": "7609",
"meta": {
"index": "authors_1716337520",
"id": "7609",
"found": true
},
"name": "Paayal Zaveri",
"firstName": "Paayal",
"lastName": "Zaveri",
"slug": "pzaveri",
"email": "paayalz2010@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Paayal Zaveri is a journalist based in the San Francisco Bay Area and currently attends UC Berkeley's Graduate School of Journalism. She also contributes to KQED's The California Report and previously interned for them. Previously, she wrote for The California Aggie, the student newspaper at the University of California, Davis, the San Francisco Public Press and other publications. Find her on Twitter \u003ca href=\"https://twitter.com/paayalzaveri\" target=\"_blank\">@paayalzaveri\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/96bd6bf064aa0929fe44bd2947473069?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Paayal Zaveri | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/96bd6bf064aa0929fe44bd2947473069?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/96bd6bf064aa0929fe44bd2947473069?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/pzaveri"
}
},
"pagesReducer": {
"arts_category_news": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"score": 10.810295
},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"title": "News",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 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": "/"
}
},
"news_10560733": {
"type": "posts",
"id": "news_10560733",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10560733",
"score": null,
"sort": [
1434207643000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 6944
},
"blocks": [],
"publishDate": 1434207643,
"format": "standard",
"disqusTitle": "Ex-Con Starts Over With Antioch Roastery",
"title": "Ex-Con Starts Over With Antioch Roastery",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>Bay Area cafes have something of a reputation, maybe a stereotype, for young, hip baristas selling caffeine at top dollar.\u003c/p>\n\u003cp>So you might not expect the person carefully preparing your espresso to be an ex-convict.\u003c/p>\n\u003cp>But that is what you'll find at \u003ca href=\"http://bighousebeans.com/\">Big House Beans\u003c/a>, a cafe in the East Bay.\u003c/p>\n\u003cp>Its founder is an ex-con who discovered coffee on his road to redemption.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/210079236\" 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>Big House Beans is a little hidden, tucked away in an Antioch strip mall, surrounded by car dealerships. John Krause, the owner and founder of the roastery, was working behind the counter when we first met.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Kenya -- this just came in as a sample and I roasted it up,\" says Krause. \"It’s a very light roast. This is probably our most popular, the Ethiopia Harrar. It’s kind of like a sweet, blueberryish.\"\u003c/p>\n\u003cp>Krause, a towering, serious and clean-cut figure who talks like any mustachioed barista you'd find on Valencia Street, has never been to Kenya or Ethiopia. He did, however, spend 12 years in and out of San Quentin State Prison. He is a former drug addict.\u003c/p>\n\u003cp>\"I spent a total of 12 years incarcerated,\" says Krause. \"Almost everything was linked to my drug addiction. Whether it was just me making poor decisions under the influence or a high-speed chase in a stolen car.\"\u003c/p>\n\u003cp>After his last arrest in 2009, Krause knew he was never going back in and decided to join a church. He was looking for God, but he also found coffee. His pastor, who dabbled in do-it-yourself roasting, introduced him to home-roasted coffee.\u003c/p>\n\u003cp>\"It was like a revelation,\" says Krause. \"The flavors were just rolling in my mouth.\"\u003c/p>\n\u003cp>It’s not that he hadn’t had coffee before. It’s just that it was really bad, especially at San Quentin. Krause started roasting as a hobby. With some investments from church friends and money from his own savings, Big House Beans roasted its first cup.\u003c/p>\n\u003cp>Today Krause employs another ex-con, and he wants to add more through an internship program that will teach roasting, wholesale and customer service.\u003c/p>\n\u003cp>Krause has big plans for Big House Beans. He wants to expand his cafe and launch a coffee truck at Bay Area farmers markets. And he’s essentially doing it on his own.\u003c/p>\n\u003cp>\"I can't make up for all the years that I lost, so I have to start fresh today and just do the best that I can every day,\" he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But no matter what happens, Krause vows, in his own words, to remain teachable and stay humble.\u003c/p>\n\n",
"disqusIdentifier": "10560733 http://ww2.kqed.org/news/?p=10560733",
"disqusUrl": "https://ww2.kqed.org/news/2015/06/13/ex-con-starts-over-with-antioch-roastery/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 484,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1434172877,
"excerpt": "The Bay Area is saturated with trendy cafes, but most don’t have a backstory that begins in prison.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Bay Area is saturated with trendy cafes, but most don’t have a backstory that begins in prison.",
"title": "Ex-Con Starts Over With Antioch Roastery | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Ex-Con Starts Over With Antioch Roastery",
"datePublished": "2015-06-13T08:00:43-07:00",
"dateModified": "2015-06-12T22:21:17-07:00",
"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": "ex-con-starts-over-with-antioch-roastery",
"status": "publish",
"path": "/news/10560733/ex-con-starts-over-with-antioch-roastery",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area cafes have something of a reputation, maybe a stereotype, for young, hip baristas selling caffeine at top dollar.\u003c/p>\n\u003cp>So you might not expect the person carefully preparing your espresso to be an ex-convict.\u003c/p>\n\u003cp>But that is what you'll find at \u003ca href=\"http://bighousebeans.com/\">Big House Beans\u003c/a>, a cafe in the East Bay.\u003c/p>\n\u003cp>Its founder is an ex-con who discovered coffee on his road to redemption.\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/210079236&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/210079236'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Big House Beans is a little hidden, tucked away in an Antioch strip mall, surrounded by car dealerships. John Krause, the owner and founder of the roastery, was working behind the counter when we first met.\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>“Kenya -- this just came in as a sample and I roasted it up,\" says Krause. \"It’s a very light roast. This is probably our most popular, the Ethiopia Harrar. It’s kind of like a sweet, blueberryish.\"\u003c/p>\n\u003cp>Krause, a towering, serious and clean-cut figure who talks like any mustachioed barista you'd find on Valencia Street, has never been to Kenya or Ethiopia. He did, however, spend 12 years in and out of San Quentin State Prison. He is a former drug addict.\u003c/p>\n\u003cp>\"I spent a total of 12 years incarcerated,\" says Krause. \"Almost everything was linked to my drug addiction. Whether it was just me making poor decisions under the influence or a high-speed chase in a stolen car.\"\u003c/p>\n\u003cp>After his last arrest in 2009, Krause knew he was never going back in and decided to join a church. He was looking for God, but he also found coffee. His pastor, who dabbled in do-it-yourself roasting, introduced him to home-roasted coffee.\u003c/p>\n\u003cp>\"It was like a revelation,\" says Krause. \"The flavors were just rolling in my mouth.\"\u003c/p>\n\u003cp>It’s not that he hadn’t had coffee before. It’s just that it was really bad, especially at San Quentin. Krause started roasting as a hobby. With some investments from church friends and money from his own savings, Big House Beans roasted its first cup.\u003c/p>\n\u003cp>Today Krause employs another ex-con, and he wants to add more through an internship program that will teach roasting, wholesale and customer service.\u003c/p>\n\u003cp>Krause has big plans for Big House Beans. He wants to expand his cafe and launch a coffee truck at Bay Area farmers markets. And he’s essentially doing it on his own.\u003c/p>\n\u003cp>\"I can't make up for all the years that I lost, so I have to start fresh today and just do the best that I can every day,\" he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But no matter what happens, Krause vows, in his own words, to remain teachable and stay humble.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10560733/ex-con-starts-over-with-antioch-roastery",
"authors": [
"3251"
],
"programs": [
"news_6944"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_23"
],
"featImg": "news_10560892",
"label": "news_6944"
},
"news_10560616": {
"type": "posts",
"id": "news_10560616",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10560616",
"score": null,
"sort": [
1451647807000
]
},
"guestAuthors": [],
"slug": "in-the-studio-with-juan-felipe-herrera-so-much-to-say",
"title": "In the Studio With Juan Felipe Herrera: So Much to Say",
"publishDate": 1451647807,
"format": "standard",
"headTitle": "In the Studio With Juan Felipe Herrera: So Much to Say | KQED",
"labelTerm": {
"term": 72,
"site": "news"
},
"content": "\u003cp>He’s the second U.S. poet laureate to come out of Fresno and the second to walk into KQED’s Central Valley Bureau to record an interview with the San Francisco office.\u003c/p>\n\u003cp>Four years ago it was \u003ca href=\"http://www.poetryfoundation.org/bio/philip-levine\">Philip Levine\u003c/a>. Now enter \u003ca href=\"http://www.juanfelipepoet.com/\">Juan Felipe Herrera\u003c/a>.\u003c/p>\n\u003cp>Herrera says he usually wears colorful clothes. But today he’s dressed in black pants, black shoes, black shirt. A local photographer didn’t want his lively garb to take away from the shape and essence and expression of his face. So Herrera first wore the black clothing for an outdoor photo shoot, standing in front of warehouses with graffiti, the poetry of the street. He says his son had to go out and buy him a couple of black shirts — Herrera didn’t have any.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/210100493″ 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>But the black works. It makes room for the canvas that is his face, ever changing in response to what he sees or hears, his eyes twinkling, noting possibility everywhere. He sits down for his interview, headphones on, a microphone in front of him.\u003c/p>\n\u003cfigure id=\"attachment_10560675\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5841.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10560675\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5841-400x300.jpeg\" alt=\"Herrera drafting his poem.\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-1440x1080.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-960x720.jpeg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Herrera drafting his poem. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Scott Shafer, the host of The California Report Magazine, asks Herrera if he brought a poem to read. Herrera checks his pockets and looks around as if he might find one in the air. He asks for a sheet of paper and a pen. And even as he talks with Shafer, he starts writing. At first, it seems like he is just recalling a poem from memory, but then it’s clear he’s crafting a new one. He tells Shafer he’s good at doing two things at once.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clearly, he is.\u003c/p>\n\u003cp>Later, he says the poem started that morning, when he took his dog for a walk. He saw two birds on a barbed wire fence, and the image stayed with him. He’s an observer and a listener too. If you tell him something, he may repeat what you say as if he’s really taking it in, mulling it over for consideration.\u003c/p>\n\u003caside class=\"alignright\">\u003cstrong>It is a turquoise\u003c/strong>\u003cbr>\n\u003cem>By Juan Felipe Herrera\u003c/em>\u003cbr>\nit is the turquoise\u003cbr>\nit is the sky — however\u003cbr>\nthe sky and the sound\u003cbr>\nof the tiny two doves\u003cbr>\nthe fence casts\u003cbr>\na shadow\u003cbr>\nThe shadow\u003cbr>\nis made of the\u003cbr>\ngrain, the footsteps\u003cbr>\none, 2, 3\u003cbr>\n1, 2, 3\u003cbr>\n2, 2, blue\u003cbr>\n\u003cem>June 11, 2015\u003cbr>\nFresno, CA\u003c/em>\u003c/aside>\n\u003cp>He even considers his appointment: U.S. poet laureate. He asks me and Central Valley Bureau Chief Sasha Khokha what we think it really means. We suggest that it gives him a platform, the chance to let the disenfranchised have their voices heard, especially here in the Central Valley where there’s so much anguish, pain and poverty.\u003c/p>\n\u003cp>“There’s so much to say,” I tell him, and he repeats it like a poem: “So much to say. So much to say.”\u003c/p>\n\u003cp>And then he takes that phrase and runs with it, fanning out from something small to something big and whimsical and full of humanity. Soon, we have an idea: a school bus with the words “So Much to Say” boldly printed on the side and poems written by children splattered all over the bus.\u003c/p>\n\u003cp>Herrera says he’s bewildered by social media and the press that camped outside on his lawn when the announcement of his appointment was made. His dog is mad at him, he says, because of all the chaos, all the people in the house, the phone constantly ringing. He makes a face to resemble his dog, sulking.\u003c/p>\n\u003cfigure id=\"attachment_10560672\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5859.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10560672 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-400x533.jpeg\" alt=\"Herrera's poem was inspired by two birds he saw while walking his dog earlier in the morning.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-400x533.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-1440x1920.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-1180x1573.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-960x1280.jpeg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Herrera’s poem was inspired by two birds he saw while walking his dog earlier in the morning. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s probably writing poetry in the corner to deal with it,” I say.\u003c/p>\n\u003cp>Herrera doesn’t miss a beat. “In couplets,” he adds.\u003c/p>\n\u003cp>“Cutlets,” Sasha says.\u003c/p>\n\u003cp>He likes the play on words. “Cutlets and couplets, cutlets and couplets,” he says.\u003c/p>\n\u003cp>And then, somehow, there’s a new image: The dog is sitting on the bus that reads “So Much to Say.” And the dog is writing poetry with the children.\u003c/p>\n\u003cp>“Cutlets and Couplets,” Herrera says again, laughing. “Cutlets and couplets.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on June 12, 2015.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "After the interview, Juan Felipe Herrera shoots the breeze with reporters Sasha Khokha and Alice Daniel. ",
"status": "publish",
"parent": 0,
"modified": 1721150601,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 786
},
"headData": {
"title": "In the Studio With Juan Felipe Herrera: So Much to Say | KQED",
"description": "After the interview, Juan Felipe Herrera shoots the breeze with reporters Sasha Khokha and Alice Daniel. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "In the Studio With Juan Felipe Herrera: So Much to Say",
"datePublished": "2016-01-01T03:30:07-08:00",
"dateModified": "2024-07-16T10:23:21-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"sticky": false,
"customPermalink": "2015/06/12/in-the-studio-with-juan-felipe-herrera-so-much-to-say/",
"path": "/news/10560616/in-the-studio-with-juan-felipe-herrera-so-much-to-say",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>He’s the second U.S. poet laureate to come out of Fresno and the second to walk into KQED’s Central Valley Bureau to record an interview with the San Francisco office.\u003c/p>\n\u003cp>Four years ago it was \u003ca href=\"http://www.poetryfoundation.org/bio/philip-levine\">Philip Levine\u003c/a>. Now enter \u003ca href=\"http://www.juanfelipepoet.com/\">Juan Felipe Herrera\u003c/a>.\u003c/p>\n\u003cp>Herrera says he usually wears colorful clothes. But today he’s dressed in black pants, black shoes, black shirt. A local photographer didn’t want his lively garb to take away from the shape and essence and expression of his face. So Herrera first wore the black clothing for an outdoor photo shoot, standing in front of warehouses with graffiti, the poetry of the street. He says his son had to go out and buy him a couple of black shirts — Herrera didn’t have any.\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/210100493″&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/210100493″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But the black works. It makes room for the canvas that is his face, ever changing in response to what he sees or hears, his eyes twinkling, noting possibility everywhere. He sits down for his interview, headphones on, a microphone in front of him.\u003c/p>\n\u003cfigure id=\"attachment_10560675\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5841.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10560675\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5841-400x300.jpeg\" alt=\"Herrera drafting his poem.\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-1440x1080.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-960x720.jpeg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Herrera drafting his poem. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Scott Shafer, the host of The California Report Magazine, asks Herrera if he brought a poem to read. Herrera checks his pockets and looks around as if he might find one in the air. He asks for a sheet of paper and a pen. And even as he talks with Shafer, he starts writing. At first, it seems like he is just recalling a poem from memory, but then it’s clear he’s crafting a new one. He tells Shafer he’s good at doing two things at once.\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>Clearly, he is.\u003c/p>\n\u003cp>Later, he says the poem started that morning, when he took his dog for a walk. He saw two birds on a barbed wire fence, and the image stayed with him. He’s an observer and a listener too. If you tell him something, he may repeat what you say as if he’s really taking it in, mulling it over for consideration.\u003c/p>\n\u003caside class=\"alignright\">\u003cstrong>It is a turquoise\u003c/strong>\u003cbr>\n\u003cem>By Juan Felipe Herrera\u003c/em>\u003cbr>\nit is the turquoise\u003cbr>\nit is the sky — however\u003cbr>\nthe sky and the sound\u003cbr>\nof the tiny two doves\u003cbr>\nthe fence casts\u003cbr>\na shadow\u003cbr>\nThe shadow\u003cbr>\nis made of the\u003cbr>\ngrain, the footsteps\u003cbr>\none, 2, 3\u003cbr>\n1, 2, 3\u003cbr>\n2, 2, blue\u003cbr>\n\u003cem>June 11, 2015\u003cbr>\nFresno, CA\u003c/em>\u003c/aside>\n\u003cp>He even considers his appointment: U.S. poet laureate. He asks me and Central Valley Bureau Chief Sasha Khokha what we think it really means. We suggest that it gives him a platform, the chance to let the disenfranchised have their voices heard, especially here in the Central Valley where there’s so much anguish, pain and poverty.\u003c/p>\n\u003cp>“There’s so much to say,” I tell him, and he repeats it like a poem: “So much to say. So much to say.”\u003c/p>\n\u003cp>And then he takes that phrase and runs with it, fanning out from something small to something big and whimsical and full of humanity. Soon, we have an idea: a school bus with the words “So Much to Say” boldly printed on the side and poems written by children splattered all over the bus.\u003c/p>\n\u003cp>Herrera says he’s bewildered by social media and the press that camped outside on his lawn when the announcement of his appointment was made. His dog is mad at him, he says, because of all the chaos, all the people in the house, the phone constantly ringing. He makes a face to resemble his dog, sulking.\u003c/p>\n\u003cfigure id=\"attachment_10560672\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5859.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10560672 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-400x533.jpeg\" alt=\"Herrera's poem was inspired by two birds he saw while walking his dog earlier in the morning.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-400x533.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-1440x1920.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-1180x1573.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-960x1280.jpeg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Herrera’s poem was inspired by two birds he saw while walking his dog earlier in the morning. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s probably writing poetry in the corner to deal with it,” I say.\u003c/p>\n\u003cp>Herrera doesn’t miss a beat. “In couplets,” he adds.\u003c/p>\n\u003cp>“Cutlets,” Sasha says.\u003c/p>\n\u003cp>He likes the play on words. “Cutlets and couplets, cutlets and couplets,” he says.\u003c/p>\n\u003cp>And then, somehow, there’s a new image: The dog is sitting on the bus that reads “So Much to Say.” And the dog is writing poetry with the children.\u003c/p>\n\u003cp>“Cutlets and Couplets,” Herrera says again, laughing. “Cutlets and couplets.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on June 12, 2015.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10560616/in-the-studio-with-juan-felipe-herrera-so-much-to-say",
"authors": [
"208"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"featImg": "news_10560671",
"label": "news_72"
},
"arts_10753290": {
"type": "posts",
"id": "arts_10753290",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10753290",
"score": null,
"sort": [
1434061805000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1434061805,
"format": "standard",
"title": "Ornette Coleman's Shape of Jazz in the Bay Area",
"headTitle": "Ornette Coleman’s Shape of Jazz in the Bay Area | KQED",
"content": "\u003cp>In Ornette Coleman’s \u003ca href=\"http://citysound.bohemian.com/2009/11/09/live-review-ornette-coleman-at-davies-symphony-hall/\" target=\"_blank\" rel=\"noopener\">final appearance in San Francisco\u003c/a>, in 2009 at Davies Symphony Hall, it seemed for just one very short moment that age might have caught up with the jazz giant.\u003c/p>\n\u003cp>As his quartet launched into “Blues Connotation,” the lead-off track from the 1959 album \u003cem>This Is Our Music\u003c/em>, Coleman himself laid out of the rapid-fire melody in the head. When it came back around as the outro, the saxophonist, then 79, struggled to keep up with the tempo.\u003c/p>\n\u003cp>Remarkably, that was the evening’s only sign that Ornette Coleman, an undisputed genius of jazz and giant of 20th century music, might someday leave us. For the rest of the concert, Coleman, who \u003ca href=\"http://ww2.kqed.org/arts/2015/06/11/ornette-coleman-pioneering-jazz-genius-dies-at-85/\" target=\"_blank\" rel=\"noopener\">died today\u003c/a> at age 85 in Manhattan, proved himself just as nimble, unpredictable, and visionary as ever — and playing mostly new compositions at that. \u003c/p>\n\u003cp>Plenty has been written about Coleman’s conception of \u003ca href=\"http://en.wikipedia.org/wiki/Harmolodics\" target=\"_blank\" rel=\"noopener\">harmolodics\u003c/a>, of the ways he guided jazz away from melody, and how he helped reimagine song structure and key to influence not just jazz but all forms of music that followed. That’s all true, but it’s also academic; too much so, really, for one whose music billowed with more humanity than theory.\u003c/p>\n\u003cp>Perhaps the simplest way to put it – and the greatest tribute to the man – is that there is no other human being on the planet, past, present or future, who could create the music that Ornette Coleman did.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And over the years, he made much of it in the Bay Area, bringing his humble spirit with him.\u003c/p>\n\u003cfigure id=\"attachment_10753296\" class=\"wp-caption alignright\" style=\"max-width: 451px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Ornette1994.jpg\" alt='Ornette Coleman performs his \"Tone Dialing\" premiere at the Masonic Auditorium, 1994. ' width=\"451\" height=\"640\" class=\"size-full wp-image-10753296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994-400x568.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994-423x600.jpg 423w\" sizes=\"(max-width: 451px) 100vw, 451px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman performs his “Tone Dialing” premiere at the Masonic Auditorium, 1994. (Photo: Stuart Brinin / Courtesy SFJAZZ)\u003c/figcaption>\u003c/figure>\n\u003cp>Randall Kline, Executive Director of SFJAZZ, remembers his many encounters with Coleman vividly, including an afterparty for the aforementioned 2009 concert at Davies Symphony Hall. Coleman walked into the room, came up to Kline, and kissed his hand.\u003c/p>\n\u003cp>“I told him, ‘I should be kissing your boots at this point!’” Kline said Thursday, still surprised by the gesture. “But that’s who he was. He had no airs about him whatsoever.”\u003c/p>\n\u003cp>SFJAZZ booked Coleman six times over the years, beginning in 1994 with a now-legendary premiere at the Masonic Auditorium called “Tone Dialing,” which involved on-stage body piercing, multiple projection screens and philosophical spoken-word. It was, one could say, an only-in-San-Francisco event.\u003c/p>\n\u003cp>“We took it as a personal challenge,” said Kline of the concert’s logistics. “We felt his music was very important to present, and we would figure out how to bring a big enough audience to make it work.”\u003c/p>\n\u003cp>Most of the time, those audiences were big indeed — Coleman regularly played San Francisco halls twice the size that he’d play in his home base of New York. His most recently scheduled date at Davies, in 2012, was canceled for health reasons. Even so, Kline remembers dropping by Coleman’s Manhattan apartment shortly afterward, where the saxophonist continued to host weekly Thursday-night jam sessions, even after falling ill.\u003c/p>\n\u003cp>“Here he is in his 80s,” Kline remembered, “and he’s still exploring!”\u003c/p>\n\u003cp>Coleman’s appearances in the Bay Area go back to his earliest days playing his trademark plastic alto saxophone. Tim Jackson, Artistic Director of the Monterey Jazz Festival, notes that Coleman first performed in Monterey in 1959, the year the saxophonist’s groundbreaking album \u003cem>The Shape of Jazz to Come\u003c/em> was released. He would return to the festival four more times, between 1960 and 2007.\u003c/p>\n\u003cp>“In the two times that I worked with him,” Jackson said Thursday, “he was just a really quiet, humble guy. You didn’t get a sense of this ‘titan of American culture in the 20th century,’ except that he had a lot of friends from the festival over the years, and always had a receiving line of people backstage. It was almost like a meeting with the Pope.”\u003c/p>\n\u003cp>Jackson agrees that Coleman’s music wasn’t for everyone, and remembers some people leaving during his 1994 set, with his electric band Prime Time.\u003c/p>\n\u003cp>“But what I love is that, particularly with Ornette’s music, it engenders dialogue,” Jackson remarked. “Even with people who were leaving. It stirs feelings in people, both positive and negative, and you hear people talking about it — the people who didn’t like it, and how vehement they were, and then the people who loved it, and were as committed in their feelings.”\u003c/p>\n\u003cfigure id=\"attachment_10753432\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960.jpg\" alt=\"Ornette Coleman and Don Cherry perform with a large band at the Monterey Jazz Festival, 1959.\" width=\"1100\" height=\"653\" class=\"size-full wp-image-10753432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-960x570.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman and Don Cherry perform with a large band at the Monterey Jazz Festival, 1959. (Photo courtesy Monterey Jazz Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Also in the Bay Area, Coleman’s path famously crossed with what might seem unlikely collaborators: the Grateful Dead. Jerry Garcia had guested on Coleman’s 1988 album \u003cem>Virgin Beauty\u003c/em>, and the band later invited Coleman’s group to open for the Grateful Dead in 1993 at the Oakland Coliseum.\u003c/p>\n\u003cp>True to spirit, Coleman \u003ca href=\"http://www.jambase.com/Articles/125402/Throwback-Thursday-Ornette-Coleman-Joins-Grateful-Dead\" target=\"_blank\" rel=\"noopener\">came back out on stage that night and sat in with the Dead\u003c/a> for the songs “Space,” “The Other One,” “Stella Blue” and “Turn On Your Lovelight.” \u003c/p>\n\u003cp>“He’s quite simply one of the architects of modern music, and every member of the Grateful Dead was certainly aware of that,” says Grateful Dead historian and former publicist Dennis McNally. “So to have him at the show was an occasion for reverence, if that’s the right word. Everyone was incredibly mindful that here is one of the most important musicians in American history, and oh my God, here he is on our stage.”\u003c/p>\n\u003cp>McNally noted that though the Dead played with other jazz greats like Miles Davis and Branford Marsalis, having Coleman on stage was special for the band. “Particularly outside of what you’d call rock and roll,” he said, “Ornette was truly a giant, and they knew it. Boy, did they know it.”\u003c/p>\n\u003cp>Fred Berry, lecturer and director of the jazz orchestra at Stanford University, first became aware of Coleman while playing with avant-garde saxophonist Roscoe Mitchell in Chicago as part of the Association for the Advancement of Creative Music.\u003c/p>\n\u003cp>Though Berry never played with Coleman, “I saw him as being a very evolved player, both spiritually and technically,” he said. “And you could hear the blues all through his playing.”\u003c/p>\n\u003cp>Later, as a young student at Stanford in the late 1960s, Berry would finally see Coleman perform in Berkeley.\u003c/p>\n\u003cp>“He was extremely controversial to a lot of people, but I saw him as being one of the beacons and forerunners of the movement,” Berry said Thursday. “It was his way of approaching the music, not particularly the music itself, that was the thing.” \u003c/p>\n\u003cp>Randall Kline, who can’t help but talk about Coleman without using phrases like “one of the great creators of the 20th Century,” noted Coleman’s philosophical spillover into other areas as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“His whole harmolodic concept of music is not something he just applied to music, he applied it to life,” Kline said. “And it’s hard to say this without sounding pretentious, but a lot of our philosophy was formed directly from Ornette – his idea that everything can work together, and his openness of spirit.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1285,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 28
},
"modified": 1705046964,
"excerpt": "While inextricably affiliated with the New York jazz scene, Ornette Coleman — who died Thursday at age 85 — enjoyed an ongoing affair with the Bay Area.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "While inextricably affiliated with the New York jazz scene, Ornette Coleman — who died Thursday at age 85 — enjoyed an ongoing affair with the Bay Area.",
"title": "Ornette Coleman's Shape of Jazz in the Bay Area | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ornette Coleman's Shape of Jazz in the Bay Area",
"datePublished": "2015-06-11T15:30:05-07:00",
"dateModified": "2024-01-12T00:09:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ornette-coleman-shape-of-jazz-bay-area",
"status": "publish",
"sticky": false,
"path": "/arts/10753290/ornette-coleman-shape-of-jazz-bay-area",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Ornette Coleman’s \u003ca href=\"http://citysound.bohemian.com/2009/11/09/live-review-ornette-coleman-at-davies-symphony-hall/\" target=\"_blank\" rel=\"noopener\">final appearance in San Francisco\u003c/a>, in 2009 at Davies Symphony Hall, it seemed for just one very short moment that age might have caught up with the jazz giant.\u003c/p>\n\u003cp>As his quartet launched into “Blues Connotation,” the lead-off track from the 1959 album \u003cem>This Is Our Music\u003c/em>, Coleman himself laid out of the rapid-fire melody in the head. When it came back around as the outro, the saxophonist, then 79, struggled to keep up with the tempo.\u003c/p>\n\u003cp>Remarkably, that was the evening’s only sign that Ornette Coleman, an undisputed genius of jazz and giant of 20th century music, might someday leave us. For the rest of the concert, Coleman, who \u003ca href=\"http://ww2.kqed.org/arts/2015/06/11/ornette-coleman-pioneering-jazz-genius-dies-at-85/\" target=\"_blank\" rel=\"noopener\">died today\u003c/a> at age 85 in Manhattan, proved himself just as nimble, unpredictable, and visionary as ever — and playing mostly new compositions at that. \u003c/p>\n\u003cp>Plenty has been written about Coleman’s conception of \u003ca href=\"http://en.wikipedia.org/wiki/Harmolodics\" target=\"_blank\" rel=\"noopener\">harmolodics\u003c/a>, of the ways he guided jazz away from melody, and how he helped reimagine song structure and key to influence not just jazz but all forms of music that followed. That’s all true, but it’s also academic; too much so, really, for one whose music billowed with more humanity than theory.\u003c/p>\n\u003cp>Perhaps the simplest way to put it – and the greatest tribute to the man – is that there is no other human being on the planet, past, present or future, who could create the music that Ornette Coleman did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And over the years, he made much of it in the Bay Area, bringing his humble spirit with him.\u003c/p>\n\u003cfigure id=\"attachment_10753296\" class=\"wp-caption alignright\" style=\"max-width: 451px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Ornette1994.jpg\" alt='Ornette Coleman performs his \"Tone Dialing\" premiere at the Masonic Auditorium, 1994. ' width=\"451\" height=\"640\" class=\"size-full wp-image-10753296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994-400x568.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994-423x600.jpg 423w\" sizes=\"(max-width: 451px) 100vw, 451px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman performs his “Tone Dialing” premiere at the Masonic Auditorium, 1994. (Photo: Stuart Brinin / Courtesy SFJAZZ)\u003c/figcaption>\u003c/figure>\n\u003cp>Randall Kline, Executive Director of SFJAZZ, remembers his many encounters with Coleman vividly, including an afterparty for the aforementioned 2009 concert at Davies Symphony Hall. Coleman walked into the room, came up to Kline, and kissed his hand.\u003c/p>\n\u003cp>“I told him, ‘I should be kissing your boots at this point!’” Kline said Thursday, still surprised by the gesture. “But that’s who he was. He had no airs about him whatsoever.”\u003c/p>\n\u003cp>SFJAZZ booked Coleman six times over the years, beginning in 1994 with a now-legendary premiere at the Masonic Auditorium called “Tone Dialing,” which involved on-stage body piercing, multiple projection screens and philosophical spoken-word. It was, one could say, an only-in-San-Francisco event.\u003c/p>\n\u003cp>“We took it as a personal challenge,” said Kline of the concert’s logistics. “We felt his music was very important to present, and we would figure out how to bring a big enough audience to make it work.”\u003c/p>\n\u003cp>Most of the time, those audiences were big indeed — Coleman regularly played San Francisco halls twice the size that he’d play in his home base of New York. His most recently scheduled date at Davies, in 2012, was canceled for health reasons. Even so, Kline remembers dropping by Coleman’s Manhattan apartment shortly afterward, where the saxophonist continued to host weekly Thursday-night jam sessions, even after falling ill.\u003c/p>\n\u003cp>“Here he is in his 80s,” Kline remembered, “and he’s still exploring!”\u003c/p>\n\u003cp>Coleman’s appearances in the Bay Area go back to his earliest days playing his trademark plastic alto saxophone. Tim Jackson, Artistic Director of the Monterey Jazz Festival, notes that Coleman first performed in Monterey in 1959, the year the saxophonist’s groundbreaking album \u003cem>The Shape of Jazz to Come\u003c/em> was released. He would return to the festival four more times, between 1960 and 2007.\u003c/p>\n\u003cp>“In the two times that I worked with him,” Jackson said Thursday, “he was just a really quiet, humble guy. You didn’t get a sense of this ‘titan of American culture in the 20th century,’ except that he had a lot of friends from the festival over the years, and always had a receiving line of people backstage. It was almost like a meeting with the Pope.”\u003c/p>\n\u003cp>Jackson agrees that Coleman’s music wasn’t for everyone, and remembers some people leaving during his 1994 set, with his electric band Prime Time.\u003c/p>\n\u003cp>“But what I love is that, particularly with Ornette’s music, it engenders dialogue,” Jackson remarked. “Even with people who were leaving. It stirs feelings in people, both positive and negative, and you hear people talking about it — the people who didn’t like it, and how vehement they were, and then the people who loved it, and were as committed in their feelings.”\u003c/p>\n\u003cfigure id=\"attachment_10753432\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960.jpg\" alt=\"Ornette Coleman and Don Cherry perform with a large band at the Monterey Jazz Festival, 1959.\" width=\"1100\" height=\"653\" class=\"size-full wp-image-10753432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-960x570.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman and Don Cherry perform with a large band at the Monterey Jazz Festival, 1959. (Photo courtesy Monterey Jazz Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Also in the Bay Area, Coleman’s path famously crossed with what might seem unlikely collaborators: the Grateful Dead. Jerry Garcia had guested on Coleman’s 1988 album \u003cem>Virgin Beauty\u003c/em>, and the band later invited Coleman’s group to open for the Grateful Dead in 1993 at the Oakland Coliseum.\u003c/p>\n\u003cp>True to spirit, Coleman \u003ca href=\"http://www.jambase.com/Articles/125402/Throwback-Thursday-Ornette-Coleman-Joins-Grateful-Dead\" target=\"_blank\" rel=\"noopener\">came back out on stage that night and sat in with the Dead\u003c/a> for the songs “Space,” “The Other One,” “Stella Blue” and “Turn On Your Lovelight.” \u003c/p>\n\u003cp>“He’s quite simply one of the architects of modern music, and every member of the Grateful Dead was certainly aware of that,” says Grateful Dead historian and former publicist Dennis McNally. “So to have him at the show was an occasion for reverence, if that’s the right word. Everyone was incredibly mindful that here is one of the most important musicians in American history, and oh my God, here he is on our stage.”\u003c/p>\n\u003cp>McNally noted that though the Dead played with other jazz greats like Miles Davis and Branford Marsalis, having Coleman on stage was special for the band. “Particularly outside of what you’d call rock and roll,” he said, “Ornette was truly a giant, and they knew it. Boy, did they know it.”\u003c/p>\n\u003cp>Fred Berry, lecturer and director of the jazz orchestra at Stanford University, first became aware of Coleman while playing with avant-garde saxophonist Roscoe Mitchell in Chicago as part of the Association for the Advancement of Creative Music.\u003c/p>\n\u003cp>Though Berry never played with Coleman, “I saw him as being a very evolved player, both spiritually and technically,” he said. “And you could hear the blues all through his playing.”\u003c/p>\n\u003cp>Later, as a young student at Stanford in the late 1960s, Berry would finally see Coleman perform in Berkeley.\u003c/p>\n\u003cp>“He was extremely controversial to a lot of people, but I saw him as being one of the beacons and forerunners of the movement,” Berry said Thursday. “It was his way of approaching the music, not particularly the music itself, that was the thing.” \u003c/p>\n\u003cp>Randall Kline, who can’t help but talk about Coleman without using phrases like “one of the great creators of the 20th Century,” noted Coleman’s philosophical spillover into other areas as well.\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>“His whole harmolodic concept of music is not something he just applied to music, he applied it to life,” Kline said. “And it’s hard to say this without sounding pretentious, but a lot of our philosophy was formed directly from Ornette – his idea that everything can work together, and his openness of spirit.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10753290/ornette-coleman-shape-of-jazz-bay-area",
"authors": [
"185"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596"
],
"featImg": "arts_10762704",
"label": "arts"
},
"arts_10752586": {
"type": "posts",
"id": "arts_10752586",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10752586",
"score": null,
"sort": [
1434041112000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1434041112,
"format": "standard",
"title": "Ornette Coleman, Pioneering Jazz Genius, Dies At 85",
"headTitle": "Ornette Coleman, Pioneering Jazz Genius, Dies At 85 | KQED",
"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, the American saxophonist and composer who liberated jazz from conventional harmony, tonality, structure and expectation, died early on Thursday of cardiac arrest in Manhattan. He was 85.\u003c/p>\n\u003cp>Coleman was an American icon and iconoclast — a self-taught musician born poor and fatherless in Fort Worth, Texas, in 1930, who went on to win the Pulitzer Prize, the Japanese Praemium Imperiale, two Guggenheims, a MacArthur, honorary doctorates and a National Endowment for the Arts Jazz Master honor.\u003c/p>\n\u003cp>Ornette Coleman played his alto saxophone the way someone whistles to themselves walking down the street, unconcerned with rules about how a song is supposed to go. In 1997, Coleman told NPR that he believed in the unfettered, imaginative, original, expressive powers of melody.\u003c/p>\n\u003cp>“As a music, it allows every musician to participate in any form of musical environment without them changing their own personality, their own tone or their way of phrasing,” Coleman said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QSmYTc1Jv7w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And he put that belief into practice when he could. Coleman was raised by his single mother and sister. He learned music on his own and left home as a teenager to tour the deep south with a minstrel show. On the road, he faced rejection and even assault for an unorthodox, free style built on Texas blues. He wound up in Los Angeles, working as an elevator operator and trying to get a hearing in jam sessions. He finally made his \u003ca href=\"https://www.youtube.com/watch?v=Lp60JUI55Pg\" target=\"_blank\" rel=\"noopener\">first recording\u003c/a> as a leader in 1958, \u003cem>Something Else\u003c/em>.\u003c/p>\n\u003cp>Some praised Coleman for returning jazz to the kind of collective improvisation its earliest players used. Others heard only cacophony.\u003c/p>\n\u003cp>“In jazz before Ornette Coleman,” \u003cem>New York Times\u003c/em> writer Jon Pareles told NPR in 1985, “people would devise solos that were designed to fit on top of the tune. If the tune was 32 bars long, the improvisation was 32 bars long, and it fit into whatever 32 bars of chords were in the tune. Ornette came along and said, ‘We don’t have to do it that way, we can take an improvisation that tells its own kind of story, that elapses according to the freedom of the song.’ He basically showed people a new kind of freedom. He broke them out of the maze of harmony.”\u003c/p>\n\u003cp>Coleman himself described his system as “sound grammar” or “harmolodics.”\u003c/p>\n\u003cp>“It’s the scientific form of sound based upon the human emotion of expression,” Coleman said. “That’s basically what it is and what it does.”\u003c/p>\n\u003cp>Coleman’s principle idea — that anyone can make music with anyone, and they don’t have to know much about each other to do it — made him able to retain his cry of the blues even \u003ca href=\"https://www.youtube.com/watch?v=ao9Y_uZLcx0\" target=\"_blank\" rel=\"noopener\">while jamming with the Master Musicians of Jajouka\u003c/a> from the mountains of Morocco. Musicians flocked to Coleman like he was the Pied Piper — and he played with\u003cem> \u003c/em>them: \u003ca href=\"http://www.npr.org/artists/15360402/yoko-ono\" target=\"_blank\" rel=\"noopener\">Yoko Ono\u003c/a>, Jerry Garcia and the \u003ca href=\"http://www.npr.org/artists/15440218/grateful-dead\" target=\"_blank\" rel=\"noopener\">Grateful Dead\u003c/a>, \u003ca href=\"http://www.npr.org/artists/16525102/laurie-anderson\" target=\"_blank\" rel=\"noopener\">Laurie Anderson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a>, not to mention the many jazz musicians who graduated from his bands. Yet Coleman himself was unfailingly modest. He was shy about cameras and might be oblique in conversation. It wasn’t that his vocabulary was peculiar, but his point of view was unique, coming from all directions, seeming to take in everything, imagistic and fundamental. But his musicians understood him.\u003c/p>\n\u003cp>“It was very easy for me to follow him,” said longtime bassist \u003ca href=\"http://www.npr.org/artists/15393702/charlie-haden\" target=\"_blank\" rel=\"noopener\">Charlie Haden\u003c/a> in 1997. “And it’s always been easy for me to follow him because he’s very articulate, just in his own language, just as he is in his music.”\u003c/p>\n\u003cp>In December of 1960, Haden was part of Coleman’s radical experiment in collective improvisation — two quartets playing simultaneously — titled \u003cem>Free Jazz\u003c/em>.\u003c/p>\n\u003cp>The recording inspired, licensed — or provoked — many better-established jazz musicians of the ’60s. But his experiments didn’t stop there.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zSVMG0Y-Dvs\u003c/p>\n\u003cp>“I never have classified music as being in different categories, so I started writing music which consists of violins and stuff like that,” Coleman said. “I think most people classify you as what you do when they see you in the contents of drums and things like that everybody they call that jazz. But when they see a violin or French horn something they call that classical music. And I really believe that any instrument can become the soloist instrument in any kind of contents.”\u003c/p>\n\u003cp>This work, too, was scorned until 1986, when conductor John Giordano of the Fort Worth Symphony worked closely with Coleman on a revision. Performances by orchestras in Europe and the New York Philharmonic followed.\u003c/p>\n\u003cp>Ornette Coleman said that he liked to tell people, “‘I’m a composer who performs.’ Whenever I would hear a band with guitars and bass the melodic line sounded so full, it sounded like a full orchestra. So I said, well, if I could expand the melodic writing into a much fuller sound, I would be able to express more music.”\u003c/p>\n\u003cp>In the mid-1970s, Coleman re-invented himself again, forming an electric band that often included his son, Denardo. In a 2008 interview, Denardo Coleman explained that his father’s philosophy suffuses his art, is part of his bands’ rehearsals and comes to fruition in performance.\u003c/p>\n\u003cp>“I think it’s beyond just scale, key, all that,” he said. “Everything he’s talking about is what he always talks about, with us, as well. So we’re bringing everything — the performance is everything.”\u003c/p>\n\u003cp>It was Ornette Coleman’s life to express feeling freely and directly, in music, and also to ask the big, confounding questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Does music have life?” he asked. His many fans and followers answer in the affirmative. \u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1010,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705046967,
"excerpt": "The American jazz saxophonist and composer who liberated jazz from conventional harmony and tonality died Thursday of cardiac arrest in Manhattan at age 85.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The American jazz saxophonist and composer who liberated jazz from conventional harmony and tonality died Thursday of cardiac arrest in Manhattan at age 85.",
"title": "Ornette Coleman, Pioneering Jazz Genius, Dies At 85 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ornette Coleman, Pioneering Jazz Genius, Dies At 85",
"datePublished": "2015-06-11T09:45:12-07:00",
"dateModified": "2024-01-12T00:09:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ornette-coleman-pioneering-jazz-genius-dies-at-85",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=413630335&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Howard Mandel",
"nprStoryDate": "Thu, 11 Jun 2015 10:33:00 -0400",
"nprLastModifiedDate": "Thu, 11 Jun 2015 10:56:28 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/ablogsupreme/2015/06/11/413630335/ornette-coleman-jazz-iconoclast-dies-at-85?ft=nprml&f=413630335",
"nprStoryId": "413630335",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 11 Jun 2015 10:56:00 -0400",
"path": "/arts/10752586/ornette-coleman-pioneering-jazz-genius-dies-at-85",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, the American saxophonist and composer who liberated jazz from conventional harmony, tonality, structure and expectation, died early on Thursday of cardiac arrest in Manhattan. He was 85.\u003c/p>\n\u003cp>Coleman was an American icon and iconoclast — a self-taught musician born poor and fatherless in Fort Worth, Texas, in 1930, who went on to win the Pulitzer Prize, the Japanese Praemium Imperiale, two Guggenheims, a MacArthur, honorary doctorates and a National Endowment for the Arts Jazz Master honor.\u003c/p>\n\u003cp>Ornette Coleman played his alto saxophone the way someone whistles to themselves walking down the street, unconcerned with rules about how a song is supposed to go. In 1997, Coleman told NPR that he believed in the unfettered, imaginative, original, expressive powers of melody.\u003c/p>\n\u003cp>“As a music, it allows every musician to participate in any form of musical environment without them changing their own personality, their own tone or their way of phrasing,” Coleman said.\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/QSmYTc1Jv7w'\n title='//www.youtube.com/embed/QSmYTc1Jv7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And he put that belief into practice when he could. Coleman was raised by his single mother and sister. He learned music on his own and left home as a teenager to tour the deep south with a minstrel show. On the road, he faced rejection and even assault for an unorthodox, free style built on Texas blues. He wound up in Los Angeles, working as an elevator operator and trying to get a hearing in jam sessions. He finally made his \u003ca href=\"https://www.youtube.com/watch?v=Lp60JUI55Pg\" target=\"_blank\" rel=\"noopener\">first recording\u003c/a> as a leader in 1958, \u003cem>Something Else\u003c/em>.\u003c/p>\n\u003cp>Some praised Coleman for returning jazz to the kind of collective improvisation its earliest players used. Others heard only cacophony.\u003c/p>\n\u003cp>“In jazz before Ornette Coleman,” \u003cem>New York Times\u003c/em> writer Jon Pareles told NPR in 1985, “people would devise solos that were designed to fit on top of the tune. If the tune was 32 bars long, the improvisation was 32 bars long, and it fit into whatever 32 bars of chords were in the tune. Ornette came along and said, ‘We don’t have to do it that way, we can take an improvisation that tells its own kind of story, that elapses according to the freedom of the song.’ He basically showed people a new kind of freedom. He broke them out of the maze of harmony.”\u003c/p>\n\u003cp>Coleman himself described his system as “sound grammar” or “harmolodics.”\u003c/p>\n\u003cp>“It’s the scientific form of sound based upon the human emotion of expression,” Coleman said. “That’s basically what it is and what it does.”\u003c/p>\n\u003cp>Coleman’s principle idea — that anyone can make music with anyone, and they don’t have to know much about each other to do it — made him able to retain his cry of the blues even \u003ca href=\"https://www.youtube.com/watch?v=ao9Y_uZLcx0\" target=\"_blank\" rel=\"noopener\">while jamming with the Master Musicians of Jajouka\u003c/a> from the mountains of Morocco. Musicians flocked to Coleman like he was the Pied Piper — and he played with\u003cem> \u003c/em>them: \u003ca href=\"http://www.npr.org/artists/15360402/yoko-ono\" target=\"_blank\" rel=\"noopener\">Yoko Ono\u003c/a>, Jerry Garcia and the \u003ca href=\"http://www.npr.org/artists/15440218/grateful-dead\" target=\"_blank\" rel=\"noopener\">Grateful Dead\u003c/a>, \u003ca href=\"http://www.npr.org/artists/16525102/laurie-anderson\" target=\"_blank\" rel=\"noopener\">Laurie Anderson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a>, not to mention the many jazz musicians who graduated from his bands. Yet Coleman himself was unfailingly modest. He was shy about cameras and might be oblique in conversation. It wasn’t that his vocabulary was peculiar, but his point of view was unique, coming from all directions, seeming to take in everything, imagistic and fundamental. But his musicians understood him.\u003c/p>\n\u003cp>“It was very easy for me to follow him,” said longtime bassist \u003ca href=\"http://www.npr.org/artists/15393702/charlie-haden\" target=\"_blank\" rel=\"noopener\">Charlie Haden\u003c/a> in 1997. “And it’s always been easy for me to follow him because he’s very articulate, just in his own language, just as he is in his music.”\u003c/p>\n\u003cp>In December of 1960, Haden was part of Coleman’s radical experiment in collective improvisation — two quartets playing simultaneously — titled \u003cem>Free Jazz\u003c/em>.\u003c/p>\n\u003cp>The recording inspired, licensed — or provoked — many better-established jazz musicians of the ’60s. But his experiments didn’t stop there.\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/zSVMG0Y-Dvs'\n title='//www.youtube.com/embed/zSVMG0Y-Dvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I never have classified music as being in different categories, so I started writing music which consists of violins and stuff like that,” Coleman said. “I think most people classify you as what you do when they see you in the contents of drums and things like that everybody they call that jazz. But when they see a violin or French horn something they call that classical music. And I really believe that any instrument can become the soloist instrument in any kind of contents.”\u003c/p>\n\u003cp>This work, too, was scorned until 1986, when conductor John Giordano of the Fort Worth Symphony worked closely with Coleman on a revision. Performances by orchestras in Europe and the New York Philharmonic followed.\u003c/p>\n\u003cp>Ornette Coleman said that he liked to tell people, “‘I’m a composer who performs.’ Whenever I would hear a band with guitars and bass the melodic line sounded so full, it sounded like a full orchestra. So I said, well, if I could expand the melodic writing into a much fuller sound, I would be able to express more music.”\u003c/p>\n\u003cp>In the mid-1970s, Coleman re-invented himself again, forming an electric band that often included his son, Denardo. In a 2008 interview, Denardo Coleman explained that his father’s philosophy suffuses his art, is part of his bands’ rehearsals and comes to fruition in performance.\u003c/p>\n\u003cp>“I think it’s beyond just scale, key, all that,” he said. “Everything he’s talking about is what he always talks about, with us, as well. So we’re bringing everything — the performance is everything.”\u003c/p>\n\u003cp>It was Ornette Coleman’s life to express feeling freely and directly, in music, and also to ask the big, confounding questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Does music have life?” he asked. His many fans and followers answer in the affirmative. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10752586/ornette-coleman-pioneering-jazz-genius-dies-at-85",
"authors": [
"byline_arts_10752586"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10752589",
"label": "arts_137"
},
"arts_10752447": {
"type": "posts",
"id": "arts_10752447",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10752447",
"score": null,
"sort": [
1434038179000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1434038179,
"format": "standard",
"title": "Christopher Lee, Star in 'Dracula,' 'Star Wars,' Dies",
"headTitle": "Christopher Lee, Star in ‘Dracula,’ ‘Star Wars,’ Dies | KQED",
"content": "\u003cp>\u003cstrong>Updated at 10 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Christopher Lee, the actor best known for defining the role of Dracula on the big screen, died on Sunday at the age of 93.\u003c/p>\n\u003cp>An official for the Royal Borough of Kensington and Chelsea in London confirmed the death.\u003c/p>\n\u003cp>For a younger generation, Lee is best known for his role as Saruman, the white-maned villain in the\u003cem> Lord of the Rings\u003c/em> franchise. Lee also played Count Dooku, another villain with superhuman powers, in the \u003cem>Star Wars\u003c/em> series.\u003c/p>\n\u003cp>But, as \u003ca href=\"http://www.theguardian.com/film/2015/jun/11/christopher-lee-dies-at-the-age-of-93-dracula\">The Guardian\u003c/a> reports, Lee was born to play the Count:\u003c/p>\n\u003cblockquote>\n\u003cp>“… When Lee’s Count Dracula first walked down to the stairs to greet his visitors in the first Hammer movie version it was a revelation. He was tall (six foot five), handsome and well-built, with an easy athleticism and a frank, direct manner. His deep, melodious voice completed the effect: commanding. There was nothing unwholesome-looking about this vampire, not at first: he looked more like a British or at any rate Central European version of Gary Cooper. So it was even more powerful and shocking when this patrician figure disclosed his Satanic qualities: and that face became pale and contorted, when the lips peeled back to reveal the fangs, the eyes turned red and the lips dripped with blood — and his whole being oozed with forbidden sexuality. \u003ca href=\"http://www.theguardian.com/film/christopher-lee\">Christopher Lee\u003c/a> \u003cem>was\u003c/em> Dracula; he had taken over the character as clearly as Sean Connery took over James Bond.\u003c/p>\n\u003cp>“He took the role in a string of other Dracula sequels, which became increasingly seedy and humiliatingly preposterous for this sensitive and thoughtful actor. But there was no doubt about it. Along with his similarly refined colleague Peter Cushing, Lee had virtually invented the lucrative Hammer horror brand. He made other pictures for a studio with which he was associated for 20 years, before getting out in the late 70s to avoid typecasting. Modern PR types call it detoxifying your image. This was more like devampirifying it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0000489/bio?ref_=nm_ov_bio_sm\">According to an IMDB biography\u003c/a>, Lee was born in London in 1922. After starring in a string of successful British films, he moved to Hollywood in the ’70s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’ll leave you with a video from The Telegraph that encapsulates Lee’s career:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cscript height=\"349px\" width=\"620px\" src=\"http://player.ooyala.com/iframe.js#ec=VlNWpsdTpQ6sYppM0ZZRNqjs_w20_0p0&pbid=7dfd98005dba40baacc82277f292e522\">\u003c/script>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 385,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705046968,
"excerpt": "Lee's career was varied and vast: He made his name as Dracula for decades, but then went on to play roles in Hollywood blockbusters like \u003cem>Lord of the Rings\u003c/em>. Lee was 93 years old.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Lee's career was varied and vast: He made his name as Dracula for decades, but then went on to play roles in Hollywood blockbusters like Lord of the Rings. Lee was 93 years old.",
"title": "Christopher Lee, Star in 'Dracula,' 'Star Wars,' Dies | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Christopher Lee, Star in 'Dracula,' 'Star Wars,' Dies",
"datePublished": "2015-06-11T08:56:19-07:00",
"dateModified": "2024-01-12T00:09:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "christopher-lee-star-in-dracula-star-wars-dies",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=413606321&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Eyder Peralta",
"nprStoryDate": "Thu, 11 Jun 2015 08:56:00 -0400",
"nprLastModifiedDate": "Thu, 11 Jun 2015 10:04:10 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/06/11/413606321/reports-christopher-lee-star-in-dracula-star-wars-dies?ft=nprml&f=413606321",
"nprStoryId": "413606321",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 11 Jun 2015 10:04:00 -0400",
"path": "/arts/10752447/christopher-lee-star-in-dracula-star-wars-dies",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 10 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Christopher Lee, the actor best known for defining the role of Dracula on the big screen, died on Sunday at the age of 93.\u003c/p>\n\u003cp>An official for the Royal Borough of Kensington and Chelsea in London confirmed the death.\u003c/p>\n\u003cp>For a younger generation, Lee is best known for his role as Saruman, the white-maned villain in the\u003cem> Lord of the Rings\u003c/em> franchise. Lee also played Count Dooku, another villain with superhuman powers, in the \u003cem>Star Wars\u003c/em> series.\u003c/p>\n\u003cp>But, as \u003ca href=\"http://www.theguardian.com/film/2015/jun/11/christopher-lee-dies-at-the-age-of-93-dracula\">The Guardian\u003c/a> reports, Lee was born to play the Count:\u003c/p>\n\u003cblockquote>\n\u003cp>“… When Lee’s Count Dracula first walked down to the stairs to greet his visitors in the first Hammer movie version it was a revelation. He was tall (six foot five), handsome and well-built, with an easy athleticism and a frank, direct manner. His deep, melodious voice completed the effect: commanding. There was nothing unwholesome-looking about this vampire, not at first: he looked more like a British or at any rate Central European version of Gary Cooper. So it was even more powerful and shocking when this patrician figure disclosed his Satanic qualities: and that face became pale and contorted, when the lips peeled back to reveal the fangs, the eyes turned red and the lips dripped with blood — and his whole being oozed with forbidden sexuality. \u003ca href=\"http://www.theguardian.com/film/christopher-lee\">Christopher Lee\u003c/a> \u003cem>was\u003c/em> Dracula; he had taken over the character as clearly as Sean Connery took over James Bond.\u003c/p>\n\u003cp>“He took the role in a string of other Dracula sequels, which became increasingly seedy and humiliatingly preposterous for this sensitive and thoughtful actor. But there was no doubt about it. Along with his similarly refined colleague Peter Cushing, Lee had virtually invented the lucrative Hammer horror brand. He made other pictures for a studio with which he was associated for 20 years, before getting out in the late 70s to avoid typecasting. Modern PR types call it detoxifying your image. This was more like devampirifying it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0000489/bio?ref_=nm_ov_bio_sm\">According to an IMDB biography\u003c/a>, Lee was born in London in 1922. After starring in a string of successful British films, he moved to Hollywood in the ’70s.\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>We’ll leave you with a video from The Telegraph that encapsulates Lee’s career:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cscript height=\"349px\" width=\"620px\" src=\"http://player.ooyala.com/iframe.js#ec=VlNWpsdTpQ6sYppM0ZZRNqjs_w20_0p0&pbid=7dfd98005dba40baacc82277f292e522\">\u003c/script>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10752447/christopher-lee-star-in-dracula-star-wars-dies",
"authors": [
"byline_arts_10752447"
],
"categories": [
"arts_74",
"arts_235"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10752448",
"label": "arts_137"
},
"news_10556735": {
"type": "posts",
"id": "news_10556735",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10556735",
"score": null,
"sort": [
1433948422000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 6944
},
"blocks": [],
"publishDate": 1433948422,
"format": "standard",
"disqusTitle": "San Francisco Officials Want to Help Save the City's 'Legacy Businesses'",
"title": "San Francisco Officials Want to Help Save the City's 'Legacy Businesses'",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>San Francisco city officials plan to put a measure on the November ballot asking voters to back a preservation fund supporting longtime small businesses and nonprofits facing rising commercial rents and gentrification.\u003c/p>\n\u003cp>\"They have a very important part in the character of these neighborhoods, and unless the city makes an investment in helping them, they're going to fail,\" says Supervisor David Campos, who is sponsoring the legislation along with supervisors John Avalos, Jane Kim and Eric Mar.\u003c/p>\n\u003cp>Last year, the city's budget and legislative analyst \u003ca href=\"http://www.sfbos.org/Modules/ShowDocument.aspx?documentid=50557\" target=\"_blank\">issued a report\u003c/a> saying thousands of businesses would close, driven in part by commercial real estate prices. It predicted that if current trends continue, more than 5,000 businesses would close or change locations by 2019.\u003c/p>\n\u003cp>Campos says the proposed measure, the first of its kind in the nation, was crafted in consultation with a broad array of stakeholders, including the small business community, preservation activists like \u003ca href=\"http://www.sfheritage.org/\" target=\"_blank\">SF Heritage\u003c/a>, nonprofits, the Chamber of Commerce and realtors.\u003c/p>\n\u003cp>\"We have worked with folks that are not necessarily on the same page and said, 'How can we as San Francisco prioritize these legacy businesses?'\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The proposed Legacy Business Historic Preservation Fund would make businesses that are 30 years or older eligible for annual grants of up to $50,000, or $500 per employee, and an annual $4.50-per- square foot grant would be available to property owners up to $22,500. No more than 300 businesses could qualify each year. Campos says businesses will have to show to the \u003ca href=\"http://sfgsa.org/index.aspx?page=4204\">Small Business Commission\u003c/a> that they've contributed to the community and that they've benefited or provided character to the neighborhood.\u003c/p>\n\u003cp>He says it's especially important to give property owners incentives to provide 10-year leases, instead of short-term leases that are sometimes month to month.\u003c/p>\n\u003cp>\"That instability is very dangerous and actually has lead to businesses closing because the rents can go up so quickly,\" he says, pointing out that the state does not allow rent control on commercial properties.\u003c/p>\n\u003cp>Campos' office says there are 7,000 businesses in the city that are 30 years or older, and around 3,000 may be eligible for the program. The money for the fund, estimated annually at $3 million, would come out of the city's general fund.\u003c/p>\n\u003cp>The measure is expected to be put on the ballot by the Board of Supervisors, and early polling indicates voters would support it.\u003c/p>\n\u003cp>In recent years the city has seen a number of famous and beloved restaurants and bars close, including \u003ca href=\"http://ww2.kqed.org/news/2015/04/25/goodbye-lexington-owner-to-shut-doors-to-beloved-lesbian-bar\" target=\"_blank\">The Lexington Club\u003c/a>, \u003ca href=\"http://insidescoopsf.sfgate.com/blog/2014/03/17/joes-cable-car-says-goodbye/\" target=\"_blank\">Joe's Cable Car\u003c/a>, \u003ca href=\"http://www.sfexaminer.com/sanfrancisco/chinatown-landmark-empress-of-china-set-to-shutter/Content?oid=2915368\" target=\"_blank\">Empress of China\u003c/a>, and \u003ca href=\"http://ww2.kqed.org/pop/2014/02/27/esta-noche-to-close-nothing-is-sacred-san-francisco/\" target=\"_blank\">Esta Noche\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"This is not going to answer every problem, and it's not going to address every situation,\" says Campos. \"But it's some assistance and I think it will have an impact and make a difference.\"\u003c/p>\n\n",
"disqusIdentifier": "10556735 http://ww2.kqed.org/news/?p=10556735",
"disqusUrl": "https://ww2.kqed.org/news/2015/06/10/san-francisco-officials-want-to-help-save-the-citys-legacy-businesses/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 481,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1433962237,
"excerpt": "Measure would support longtime small businesses and nonprofits, which face rising commercial rents.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Measure would support longtime small businesses and nonprofits, which face rising commercial rents.",
"title": "San Francisco Officials Want to Help Save the City's 'Legacy Businesses' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "San Francisco Officials Want to Help Save the City's 'Legacy Businesses'",
"datePublished": "2015-06-10T08:00:22-07:00",
"dateModified": "2015-06-10T11:50:37-07:00",
"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": "san-francisco-officials-want-to-help-save-the-citys-legacy-businesses",
"status": "publish",
"path": "/news/10556735/san-francisco-officials-want-to-help-save-the-citys-legacy-businesses",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco city officials plan to put a measure on the November ballot asking voters to back a preservation fund supporting longtime small businesses and nonprofits facing rising commercial rents and gentrification.\u003c/p>\n\u003cp>\"They have a very important part in the character of these neighborhoods, and unless the city makes an investment in helping them, they're going to fail,\" says Supervisor David Campos, who is sponsoring the legislation along with supervisors John Avalos, Jane Kim and Eric Mar.\u003c/p>\n\u003cp>Last year, the city's budget and legislative analyst \u003ca href=\"http://www.sfbos.org/Modules/ShowDocument.aspx?documentid=50557\" target=\"_blank\">issued a report\u003c/a> saying thousands of businesses would close, driven in part by commercial real estate prices. It predicted that if current trends continue, more than 5,000 businesses would close or change locations by 2019.\u003c/p>\n\u003cp>Campos says the proposed measure, the first of its kind in the nation, was crafted in consultation with a broad array of stakeholders, including the small business community, preservation activists like \u003ca href=\"http://www.sfheritage.org/\" target=\"_blank\">SF Heritage\u003c/a>, nonprofits, the Chamber of Commerce and realtors.\u003c/p>\n\u003cp>\"We have worked with folks that are not necessarily on the same page and said, 'How can we as San Francisco prioritize these legacy businesses?'\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The proposed Legacy Business Historic Preservation Fund would make businesses that are 30 years or older eligible for annual grants of up to $50,000, or $500 per employee, and an annual $4.50-per- square foot grant would be available to property owners up to $22,500. No more than 300 businesses could qualify each year. Campos says businesses will have to show to the \u003ca href=\"http://sfgsa.org/index.aspx?page=4204\">Small Business Commission\u003c/a> that they've contributed to the community and that they've benefited or provided character to the neighborhood.\u003c/p>\n\u003cp>He says it's especially important to give property owners incentives to provide 10-year leases, instead of short-term leases that are sometimes month to month.\u003c/p>\n\u003cp>\"That instability is very dangerous and actually has lead to businesses closing because the rents can go up so quickly,\" he says, pointing out that the state does not allow rent control on commercial properties.\u003c/p>\n\u003cp>Campos' office says there are 7,000 businesses in the city that are 30 years or older, and around 3,000 may be eligible for the program. The money for the fund, estimated annually at $3 million, would come out of the city's general fund.\u003c/p>\n\u003cp>The measure is expected to be put on the ballot by the Board of Supervisors, and early polling indicates voters would support it.\u003c/p>\n\u003cp>In recent years the city has seen a number of famous and beloved restaurants and bars close, including \u003ca href=\"http://ww2.kqed.org/news/2015/04/25/goodbye-lexington-owner-to-shut-doors-to-beloved-lesbian-bar\" target=\"_blank\">The Lexington Club\u003c/a>, \u003ca href=\"http://insidescoopsf.sfgate.com/blog/2014/03/17/joes-cable-car-says-goodbye/\" target=\"_blank\">Joe's Cable Car\u003c/a>, \u003ca href=\"http://www.sfexaminer.com/sanfrancisco/chinatown-landmark-empress-of-china-set-to-shutter/Content?oid=2915368\" target=\"_blank\">Empress of China\u003c/a>, and \u003ca href=\"http://ww2.kqed.org/pop/2014/02/27/esta-noche-to-close-nothing-is-sacred-san-francisco/\" target=\"_blank\">Esta Noche\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"This is not going to answer every problem, and it's not going to address every situation,\" says Campos. \"But it's some assistance and I think it will have an impact and make a difference.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10556735/san-francisco-officials-want-to-help-save-the-citys-legacy-businesses",
"authors": [
"214"
],
"programs": [
"news_6944"
],
"categories": [
"news_223",
"news_1758",
"news_6266"
],
"tags": [
"news_4613",
"news_137",
"news_38"
],
"featImg": "news_10556736",
"label": "news_6944"
},
"news_10557292": {
"type": "posts",
"id": "news_10557292",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10557292",
"score": null,
"sort": [
1433922099000
]
},
"guestAuthors": [],
"slug": "californias-juan-felipe-herrera-named-u-s-poet-laureate",
"title": "California's Juan Felipe Herrera Named U.S. Poet Laureate",
"publishDate": 1433922099,
"format": "standard",
"headTitle": "California’s Juan Felipe Herrera Named U.S. Poet Laureate | KQED",
"labelTerm": {
"term": 72,
"site": "news"
},
"content": "\u003cp>WASHINGTON — Juan Felipe Herrera, a son of Mexican immigrant farm workers who was born in the San Joaquin Valley, will be the next U.S. poet laureate.\u003c/p>\n\u003cp>The Library of Congress announced Wednesday the appointment of Herrera as the nation’s 21st poet laureate for 2015 through 2016, beginning in September. Herrera, 66, whose parents emigrated from Mexico, will be the nation’s first Latino poet laureate since the position was created in 1936.\u003c/p>\n\u003cp>Librarian of Congress James Billington said he sees in Herrera’s poems the work of an American original.\u003c/p>\n\u003cp>[contextly_sidebar id=”FNcbG4jWzzd1Hm8kCad0TKDD9g1ucwsD”]\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">“His poems engage in a serious sense of play — in language and in image — that I feel gives them enduring power,” Billington said in a written statement. “I see how they champion voices, traditions and histories, as well as a cultural perspective, which is a vital part of our larger American identity.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the works Herrera said he most enjoyed writing were captured in “Half the World in Light,” a book of poems lauded for his experimentation and for documenting his Chicano experience in America.\u003c/p>\n\u003cp>Herrera was born in 1948 in Fowler, a farm town south of Fresno. His family of migrant workers moved often, at times living in tents and trailers along roads. His father learned English by paying fellow workers pennies to teach him each new word.\u003c/p>\n\u003cp>Herrera said he is humbled and overwhelmed to be named U.S. poet laureate and to be the first of Latino descent.\u003c/p>\n\u003cp>The laureate position involves crafting poetry projects and broadening the audience for poetry. The 2013-14 poet laureate, Natasha Trethewey, launched a series of reports from locations nationwide for a “PBS NewsHour” poetry series to explore societal issues.\u003c/p>\n\u003cp>For his term, Herrera is envisioning a program with the Library of Congress that he calls Casa de Colores — House of Colors — to include people of every color and cultural background. He may host voice ensembles with young people to engage with poetry, perhaps taking a poem by Walt Whitman and then having a group write a poem together to perform in spoken word or with music. Or perhaps the public could contribute to a national writing project by making submissions online.\u003c/p>\n\u003cp>“Yes, I am the first Latino poet laureate in the United States. But I’m also here for everyone and from everyone. My voice is made by everyone’s voices,” Herrera said.\u003c/p>\n\u003cp>At the same time, he said, he also wants to encourage more young Latino students to write and read and benefit from the Library of Congress’ resources.\u003c/p>\n\u003cp>“You know, we speak about understanding each other, having those conversations nationwide — culturally, historically — and yet there’s a lot of gaps,” he said. “So I want to assist with closing the gap of knowing about and hearing about our Latino communities in terms of literature, in terms of writing.\u003c/p>\n\u003cp>“And I want our young Latinos and Latinas to write their hearts out and express their hearts out and let us all listen to each other.”\u003c/p>\n\u003cp>Herrera grew up speaking Spanish in his early years and became ashamed to speak at school, so he shut down, he said. But he eventually found his voice through joining choirs in middle school and high school.\u003c/p>\n\u003cp>Herrera eventually graduated from UCLA, earned graduate degrees at Stanford and the University of Iowa Writer’s Workshop, and built a career in teaching at Fresno State and UC Riverside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the past three years, 2012 to 2015, Herrera served as poet laureate of California. In March, he retired from teaching creative writing at the University of California, Riverside and is now a visiting professor in ethnic studies at the University of Washington.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Son of Mexican immigrant farm workers, born near Fresno, is nation's first Latino 'poet in chief.'",
"status": "publish",
"parent": 0,
"modified": 1721150583,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 646
},
"headData": {
"title": "California's Juan Felipe Herrera Named U.S. Poet Laureate | KQED",
"description": "Son of Mexican immigrant farm workers, born near Fresno, is nation's first Latino 'poet in chief.'",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "California's Juan Felipe Herrera Named U.S. Poet Laureate",
"datePublished": "2015-06-10T00:41:39-07:00",
"dateModified": "2024-07-16T10:23:03-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"sticky": false,
"nprByline": "\u003cstrong>\u003ca href=\"https://twitter.com/DCArtBeat\" target=\"_blank\">Brett Zongker\u003c/a>\u003cbr />Associated Press\u003cstrong>",
"path": "/news/10557292/californias-juan-felipe-herrera-named-u-s-poet-laureate",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>WASHINGTON — Juan Felipe Herrera, a son of Mexican immigrant farm workers who was born in the San Joaquin Valley, will be the next U.S. poet laureate.\u003c/p>\n\u003cp>The Library of Congress announced Wednesday the appointment of Herrera as the nation’s 21st poet laureate for 2015 through 2016, beginning in September. Herrera, 66, whose parents emigrated from Mexico, will be the nation’s first Latino poet laureate since the position was created in 1936.\u003c/p>\n\u003cp>Librarian of Congress James Billington said he sees in Herrera’s poems the work of an American original.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">“His poems engage in a serious sense of play — in language and in image — that I feel gives them enduring power,” Billington said in a written statement. “I see how they champion voices, traditions and histories, as well as a cultural perspective, which is a vital part of our larger American identity.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the works Herrera said he most enjoyed writing were captured in “Half the World in Light,” a book of poems lauded for his experimentation and for documenting his Chicano experience in America.\u003c/p>\n\u003cp>Herrera was born in 1948 in Fowler, a farm town south of Fresno. His family of migrant workers moved often, at times living in tents and trailers along roads. His father learned English by paying fellow workers pennies to teach him each new word.\u003c/p>\n\u003cp>Herrera said he is humbled and overwhelmed to be named U.S. poet laureate and to be the first of Latino descent.\u003c/p>\n\u003cp>The laureate position involves crafting poetry projects and broadening the audience for poetry. The 2013-14 poet laureate, Natasha Trethewey, launched a series of reports from locations nationwide for a “PBS NewsHour” poetry series to explore societal issues.\u003c/p>\n\u003cp>For his term, Herrera is envisioning a program with the Library of Congress that he calls Casa de Colores — House of Colors — to include people of every color and cultural background. He may host voice ensembles with young people to engage with poetry, perhaps taking a poem by Walt Whitman and then having a group write a poem together to perform in spoken word or with music. Or perhaps the public could contribute to a national writing project by making submissions online.\u003c/p>\n\u003cp>“Yes, I am the first Latino poet laureate in the United States. But I’m also here for everyone and from everyone. My voice is made by everyone’s voices,” Herrera said.\u003c/p>\n\u003cp>At the same time, he said, he also wants to encourage more young Latino students to write and read and benefit from the Library of Congress’ resources.\u003c/p>\n\u003cp>“You know, we speak about understanding each other, having those conversations nationwide — culturally, historically — and yet there’s a lot of gaps,” he said. “So I want to assist with closing the gap of knowing about and hearing about our Latino communities in terms of literature, in terms of writing.\u003c/p>\n\u003cp>“And I want our young Latinos and Latinas to write their hearts out and express their hearts out and let us all listen to each other.”\u003c/p>\n\u003cp>Herrera grew up speaking Spanish in his early years and became ashamed to speak at school, so he shut down, he said. But he eventually found his voice through joining choirs in middle school and high school.\u003c/p>\n\u003cp>Herrera eventually graduated from UCLA, earned graduate degrees at Stanford and the University of Iowa Writer’s Workshop, and built a career in teaching at Fresno State and UC Riverside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the past three years, 2012 to 2015, Herrera served as poet laureate of California. In March, he retired from teaching creative writing at the University of California, Riverside and is now a visiting professor in ethnic studies at the University of Washington.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10557292/californias-juan-felipe-herrera-named-u-s-poet-laureate",
"authors": [
"byline_news_10557292"
],
"programs": [
"news_6944",
"news_72"
],
"categories": [
"news_223"
],
"tags": [
"news_1222"
],
"featImg": "news_10557340",
"label": "news_72"
},
"news_10552353": {
"type": "posts",
"id": "news_10552353",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10552353",
"score": null,
"sort": [
1433888558000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 6944
},
"blocks": [],
"publishDate": 1433888558,
"format": "standard",
"disqusTitle": "Archivists Recover 'Lost' 1961 TV Documentary on Homosexuality",
"title": "Archivists Recover 'Lost' 1961 TV Documentary on Homosexuality",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>“The Rejected” is believed to be the first American TV documentary on homosexuality, released in 1961. For decades many have thought the film was lost. Until now.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/209017078\" params=\"color=0066cc&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>KQED-TV produced “The Rejected.” Critics say it was progressive, ahead of its time. In the film, openly gay men talked about their lives and the oppression they faced. That would not happen again on TV for years. The documentary has been studied and written about, but few have actually watched it.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I just figured it was lost to the ages.'\u003ccite>Bob Connelly, Film Professor \u003c/cite>\u003c/aside>\n\u003cp>Professor Bob Connelly never thought he would see “The Rejected.” He says, “I just figured it was lost to the ages.”\u003c/p>\n\u003cp>Connelly has been teaching “The Rejected” for 14 years in his film class at American University in Washington, D.C. He wrote about it in graduate school, and again on the\u003ca href=\"http://www.advocate.com/politics/commentary/2011/09/21/op-ed-television-coming-out-story-1961\"> 50th anniversary of the film\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But like many others, Connelly could not find a copy. He called archives and scholars and even went to the Library of Congress. All he found there was a transcript.\u003c/p>\n\u003cp>So when Robert Chehoski called him a couple of years ago and said he was searching for the film, Connelly didn’t hold his breath.\u003c/p>\n\u003cp>Connelly says, “I really thought, 'buddy good luck. Nobody else has been able to find one, why would you be able to find one?'”\u003c/p>\n\u003cp>Chehoski is KQED's archivist. Now, you might think KQED would have the film. But no. Chehoski says local stations “simply did not have the room or resources to catalog everything.” The station had not kept a copy.\u003c/p>\n\u003cp>Today, archivists like Chehoski are trying to reclaim historic films like “The Rejected.”\u003c/p>\n\u003cfigure id=\"attachment_10552413\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut.jpg\">\u003cimg class=\"wp-image-10552413 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-800x1067.jpg\" alt=\"Archivist Alex Cherian finds old news footage and loads it up online.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Archivist Alex Cherian finds old news footage and loads it up online. (Sam Harnett/KQED) \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chehoski says, “It just became that unicorn that I was looking for. I get a little obsessive I guess.”\u003c/p>\n\u003cp>Chehoski teamed up with Alex Cherian, another local archivist. Cherian runs the \u003ca href=\"https://diva.sfsu.edu/\">Bay Area Television Archive \u003c/a>at San Francisco State University. Together they went on a hunt that ended up taking six years.\u003c/p>\n\u003cp>Cherian says, “There was no treasure map. All I knew was in 1961, KQED had made this film. Where the hell was it?\"\u003c/p>\n\u003cp>The pair first tried some archives. No luck. They tracked down the original producer, Irving Saraf, to see if he knew anything. More bad news. Saraf told Cherian, “Oh yeah I made that film in 1961 but I haven’t been able to find it. It’s probably lost.”\u003c/p>\n\u003cp>Cherian and Chehoski then discovered KQED did not actually own the film. A New York TV station, WNET, did -- it had provided the film's funding.\u003c/p>\n\u003cp>From there, the archivists learned that at least one physical copy of “The Rejected” did exist, hiding in plain sight.\u003c/p>\n\u003cp>Cherian says, “There’s that cliched phrase, did you look down the back of the sofa?” AKA: the Library of Congress.\u003c/p>\n\u003cp>Yup, it was actually there, buried in the archive. But the film was neither easily accessible nor in perfect shape. So the archivists convinced the library and WNET to let them clean up, digitize and upload the video. Then they sent a link to Professor Connelly. He couldn’t believe what he was seeing.\u003c/p>\n\u003cp>Connelly says, “I am just blown away by the fact that it does exist.”\u003c/p>\n\u003cp>Now, more than 50 years after the film was made, anyone can go online and \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/225539\">watch it\u003c/a>.\u003c/p>\n\u003cp>The documentary starts with KQED Station Manager James Day telling the audience that what they will see deals with a subject that is “controversial, delicate, and to some downright unpleasant.” But, Day says, the issue cannot be ignored and should be talked about.\u003c/p>\n\u003cp>The film has Twilight-Zone-esque music and some of the discourse about homosexuality is painful to hear. The opening voice-over says, “This is a program about homosexuality. What causes it? Is there a cure for it?”\u003c/p>\n\u003cfigure id=\"attachment_10556737\" class=\"wp-caption alignleft\" style=\"max-width: 372px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/James-Day.png\">\u003cimg class=\" wp-image-10556737\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/James-Day-800x548.png\" alt=\"KQED Station Manager James Day introducing the controversial subject of homosexuality. \" width=\"372\" height=\"255\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-800x548.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-400x274.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-960x658.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day.png 1029w\" sizes=\"(max-width: 372px) 100vw, 372px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">KQED Station Manager James Day introducing the controversial subject of homosexuality. \u003ccite>(Still from 'The Rejected')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But remember, it was the early '60s. Connelly says the film was progressive for the time, a breakthrough. During the documentary, different people talk to the camera—an anthropologist, psychologist, lawyer, and most surprisingly for that time, gay men.\u003c/p>\n\u003cp>In one sequence, there is a panel of three gay men answering questions. They are from the Mattachine Society, an early gay rights group. The man on the far right says, “The homosexual is no different than anyone else,” and that homosexuals should enjoy the same rights as everyone else.\u003c/p>\n\u003cp>Connelly says many viewers had never heard from an openly gay man before.\u003c/p>\n\u003cp>A number of LGBT publications \u003ca href=\"http://www.out.com/popnography/2015/5/26/first-documentary-homosexuality-ever-aired-us-long-thought-lost-now-online\">have written\u003c/a> about the recovery of this historical documentary. But there may yet be more to see of \"The Rejected.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film's producer, Saraf, says that a longer version was made, one with rare footage inside an early '60s gay bar. Whether that version still exists is unknown. Maybe it is in a film can stacked in some archive. Or it might have been tossed away with countless other reels of film from a bygone era.\u003c/p>\n\n",
"disqusIdentifier": "10552353 http://ww2.kqed.org/news/?p=10552353",
"disqusUrl": "https://ww2.kqed.org/news/2015/06/09/archivists-recover-lost-1961-tv-documentary-on-homosexuality/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 942,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 29
},
"modified": 1434062502,
"excerpt": "In 'The Rejected,' openly gay men talked about their lives and the oppression they faced. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In 'The Rejected,' openly gay men talked about their lives and the oppression they faced. ",
"title": "Archivists Recover 'Lost' 1961 TV Documentary on Homosexuality | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Archivists Recover 'Lost' 1961 TV Documentary on Homosexuality",
"datePublished": "2015-06-09T15:22:38-07:00",
"dateModified": "2015-06-11T15:41:42-07:00",
"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": "archivists-recover-lost-1961-tv-documentary-on-homosexuality",
"status": "publish",
"path": "/news/10552353/archivists-recover-lost-1961-tv-documentary-on-homosexuality",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The Rejected” is believed to be the first American TV documentary on homosexuality, released in 1961. For decades many have thought the film was lost. Until now.\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/209017078&visual=true&color=0066cc&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/209017078'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>KQED-TV produced “The Rejected.” Critics say it was progressive, ahead of its time. In the film, openly gay men talked about their lives and the oppression they faced. That would not happen again on TV for years. The documentary has been studied and written about, but few have actually watched it.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I just figured it was lost to the ages.'\u003ccite>Bob Connelly, Film Professor \u003c/cite>\u003c/aside>\n\u003cp>Professor Bob Connelly never thought he would see “The Rejected.” He says, “I just figured it was lost to the ages.”\u003c/p>\n\u003cp>Connelly has been teaching “The Rejected” for 14 years in his film class at American University in Washington, D.C. He wrote about it in graduate school, and again on the\u003ca href=\"http://www.advocate.com/politics/commentary/2011/09/21/op-ed-television-coming-out-story-1961\"> 50th anniversary of the film\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But like many others, Connelly could not find a copy. He called archives and scholars and even went to the Library of Congress. All he found there was a transcript.\u003c/p>\n\u003cp>So when Robert Chehoski called him a couple of years ago and said he was searching for the film, Connelly didn’t hold his breath.\u003c/p>\n\u003cp>Connelly says, “I really thought, 'buddy good luck. Nobody else has been able to find one, why would you be able to find one?'”\u003c/p>\n\u003cp>Chehoski is KQED's archivist. Now, you might think KQED would have the film. But no. Chehoski says local stations “simply did not have the room or resources to catalog everything.” The station had not kept a copy.\u003c/p>\n\u003cp>Today, archivists like Chehoski are trying to reclaim historic films like “The Rejected.”\u003c/p>\n\u003cfigure id=\"attachment_10552413\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut.jpg\">\u003cimg class=\"wp-image-10552413 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-800x1067.jpg\" alt=\"Archivist Alex Cherian finds old news footage and loads it up online.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Archivist Alex Cherian finds old news footage and loads it up online. (Sam Harnett/KQED) \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chehoski says, “It just became that unicorn that I was looking for. I get a little obsessive I guess.”\u003c/p>\n\u003cp>Chehoski teamed up with Alex Cherian, another local archivist. Cherian runs the \u003ca href=\"https://diva.sfsu.edu/\">Bay Area Television Archive \u003c/a>at San Francisco State University. Together they went on a hunt that ended up taking six years.\u003c/p>\n\u003cp>Cherian says, “There was no treasure map. All I knew was in 1961, KQED had made this film. Where the hell was it?\"\u003c/p>\n\u003cp>The pair first tried some archives. No luck. They tracked down the original producer, Irving Saraf, to see if he knew anything. More bad news. Saraf told Cherian, “Oh yeah I made that film in 1961 but I haven’t been able to find it. It’s probably lost.”\u003c/p>\n\u003cp>Cherian and Chehoski then discovered KQED did not actually own the film. A New York TV station, WNET, did -- it had provided the film's funding.\u003c/p>\n\u003cp>From there, the archivists learned that at least one physical copy of “The Rejected” did exist, hiding in plain sight.\u003c/p>\n\u003cp>Cherian says, “There’s that cliched phrase, did you look down the back of the sofa?” AKA: the Library of Congress.\u003c/p>\n\u003cp>Yup, it was actually there, buried in the archive. But the film was neither easily accessible nor in perfect shape. So the archivists convinced the library and WNET to let them clean up, digitize and upload the video. Then they sent a link to Professor Connelly. He couldn’t believe what he was seeing.\u003c/p>\n\u003cp>Connelly says, “I am just blown away by the fact that it does exist.”\u003c/p>\n\u003cp>Now, more than 50 years after the film was made, anyone can go online and \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/225539\">watch it\u003c/a>.\u003c/p>\n\u003cp>The documentary starts with KQED Station Manager James Day telling the audience that what they will see deals with a subject that is “controversial, delicate, and to some downright unpleasant.” But, Day says, the issue cannot be ignored and should be talked about.\u003c/p>\n\u003cp>The film has Twilight-Zone-esque music and some of the discourse about homosexuality is painful to hear. The opening voice-over says, “This is a program about homosexuality. What causes it? Is there a cure for it?”\u003c/p>\n\u003cfigure id=\"attachment_10556737\" class=\"wp-caption alignleft\" style=\"max-width: 372px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/James-Day.png\">\u003cimg class=\" wp-image-10556737\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/James-Day-800x548.png\" alt=\"KQED Station Manager James Day introducing the controversial subject of homosexuality. \" width=\"372\" height=\"255\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-800x548.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-400x274.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-960x658.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day.png 1029w\" sizes=\"(max-width: 372px) 100vw, 372px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">KQED Station Manager James Day introducing the controversial subject of homosexuality. \u003ccite>(Still from 'The Rejected')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But remember, it was the early '60s. Connelly says the film was progressive for the time, a breakthrough. During the documentary, different people talk to the camera—an anthropologist, psychologist, lawyer, and most surprisingly for that time, gay men.\u003c/p>\n\u003cp>In one sequence, there is a panel of three gay men answering questions. They are from the Mattachine Society, an early gay rights group. The man on the far right says, “The homosexual is no different than anyone else,” and that homosexuals should enjoy the same rights as everyone else.\u003c/p>\n\u003cp>Connelly says many viewers had never heard from an openly gay man before.\u003c/p>\n\u003cp>A number of LGBT publications \u003ca href=\"http://www.out.com/popnography/2015/5/26/first-documentary-homosexuality-ever-aired-us-long-thought-lost-now-online\">have written\u003c/a> about the recovery of this historical documentary. But there may yet be more to see of \"The Rejected.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film's producer, Saraf, says that a longer version was made, one with rare footage inside an early '60s gay bar. Whether that version still exists is unknown. Maybe it is in a film can stacked in some archive. Or it might have been tossed away with countless other reels of film from a bygone era.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10552353/archivists-recover-lost-1961-tv-documentary-on-homosexuality",
"authors": [
"253"
],
"programs": [
"news_6944"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_17719",
"news_5438"
],
"featImg": "news_10556722",
"label": "news_6944"
},
"arts_10730524": {
"type": "posts",
"id": "arts_10730524",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10730524",
"score": null,
"sort": [
1433862045000
]
},
"guestAuthors": [],
"slug": "mission-critical-keeping-carnaval-a-neighborhood-thing",
"title": "Mission Critical: Keeping Carnaval a Neighborhood Thing",
"publishDate": 1433862045,
"format": "video",
"headTitle": "Mission Critical: Keeping Carnaval a Neighborhood Thing | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Carnaval, an explosion of Latino music and dance that wends its joyous way through San Francisco’s Mission district every Memorial Day weekend, was at its raucous best this year.\u003c/p>\n\u003cp>But despite the jubilant atmosphere, there was an undertow of worry in the air.\u003c/p>\n\u003cp>The working class Latinos who grew up in the Mission and have a longstanding relationship with Carnaval expressed concern about being priced out of their own homes. They also talked about how many of their former Carnaval colleagues can no longer practice or participate with their “contingents,” as the performing groups are called, because they have had to move so far away.\u003c/p>\n\u003cp>Where once there was only music, dance, pride and joy, there is now a growing sense of urgency as Carnaval becomes a space for community activism as well as art.\u003c/p>\n\u003cp>“On Carnaval Day, for families that have been displaced, they get to take back the streets,” says Annie Jupiter-Jones, Executive Director of Loco Bloco, one of the largest Carnaval contingents this year. “These streets are their streets again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED Arts went inside this year’s parade to see and hear the action up close.\u003c/p>\n\u003cp>In this video story, we follow three contingents — Jupiter-Jones’s Loco Bloco, the Brazil-inspired dance and percussion company Fogo Na Roupa, and the Trinidadian puppeteers Mas Makers Massive – and find that the passion for Carnaval is undimmed by gentrification.\u003c/p>\n\u003cp>Even as neighborhood participation is thinning, there is a resolute determination among the people who built Carnaval to keep its fire burning brighter than ever.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a time when most of the news coming from the Mission is about locals being priced out for new condos and upscale eateries, here’s one reason to celebrate.\u003c/p>\n\n",
"blocks": [],
"excerpt": "As The Mission gentrifies, locals hang on with passion to a riotous celebration of Latino music and dance. ",
"status": "publish",
"parent": 0,
"modified": 1726788442,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 301
},
"headData": {
"title": "Mission Critical: Keeping Carnaval a Neighborhood Thing | KQED",
"description": "As The Mission gentrifies, locals hang on with passion to a riotous celebration of Latino music and dance. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Mission Critical: Keeping Carnaval a Neighborhood Thing",
"datePublished": "2015-06-09T08:00:45-07:00",
"dateModified": "2024-09-19T16:27:22-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"videoEmbed": "https://www.youtube.com/watch?v=g02SAU3fUo8&feature=youtu.be",
"sticky": false,
"nprStoryId": "464727291",
"path": "/arts/10730524/mission-critical-keeping-carnaval-a-neighborhood-thing",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carnaval, an explosion of Latino music and dance that wends its joyous way through San Francisco’s Mission district every Memorial Day weekend, was at its raucous best this year.\u003c/p>\n\u003cp>But despite the jubilant atmosphere, there was an undertow of worry in the air.\u003c/p>\n\u003cp>The working class Latinos who grew up in the Mission and have a longstanding relationship with Carnaval expressed concern about being priced out of their own homes. They also talked about how many of their former Carnaval colleagues can no longer practice or participate with their “contingents,” as the performing groups are called, because they have had to move so far away.\u003c/p>\n\u003cp>Where once there was only music, dance, pride and joy, there is now a growing sense of urgency as Carnaval becomes a space for community activism as well as art.\u003c/p>\n\u003cp>“On Carnaval Day, for families that have been displaced, they get to take back the streets,” says Annie Jupiter-Jones, Executive Director of Loco Bloco, one of the largest Carnaval contingents this year. “These streets are their streets again.”\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>KQED Arts went inside this year’s parade to see and hear the action up close.\u003c/p>\n\u003cp>In this video story, we follow three contingents — Jupiter-Jones’s Loco Bloco, the Brazil-inspired dance and percussion company Fogo Na Roupa, and the Trinidadian puppeteers Mas Makers Massive – and find that the passion for Carnaval is undimmed by gentrification.\u003c/p>\n\u003cp>Even as neighborhood participation is thinning, there is a resolute determination among the people who built Carnaval to keep its fire burning brighter than ever.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a time when most of the news coming from the Mission is about locals being priced out for new condos and upscale eateries, here’s one reason to celebrate.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10730524/mission-critical-keeping-carnaval-a-neighborhood-thing",
"authors": [
"7235",
"181"
],
"categories": [
"arts_966",
"arts_69",
"arts_235"
],
"tags": [
"arts_596"
],
"featImg": "arts_10733425",
"label": "arts"
},
"news_10532823": {
"type": "posts",
"id": "news_10532823",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10532823",
"score": null,
"sort": [
1433595618000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 72
},
"blocks": [],
"publishDate": 1433595618,
"format": "standard",
"disqusTitle": "Meet the Man Behind the Scenes of the San Francisco Ethnic Dance Festival",
"title": "Meet the Man Behind the Scenes of the San Francisco Ethnic Dance Festival",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Standing in front of a mirrored wall, dressed in khakis, a sweater and black ballet shoes, 84-year-old Carlos Carvajal taps along to the music. He’s rehearsing with a group of ballet students at a dance studio in San Leandro.\u003c/p>\n\u003cp>While the students watch, he moves his arms gracefully to demonstrate how to strike the proper pose. It’s effortless after all these years.\u003c/p>\n\u003cp>Carvajal is the co-artistic director for the annual \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-ethnic-dance-festival/\" target=\"_blank\">San Francisco Ethnic Dance Festival\u003c/a> opening this weekend, and an accomplished ballet dancer and choreographer.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/210100880\" 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\u003cfigure id=\"attachment_10548471\" class=\"wp-caption alignright\" style=\"max-width: 743px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg\">\u003cimg class=\"wp-image-10548471 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg\" alt=\"Carvajal strikes a pose while rehearsing a ballet as a young dancer.\" width=\"743\" height=\"1145\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg 743w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut-400x616.jpg 400w\" sizes=\"(max-width: 743px) 100vw, 743px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carvajal strikes a pose while rehearsing a ballet as a young dancer. \u003ccite>(Courtesy of Carlos Carvajal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He got his start when he joined a folk dance class in San Francisco as a teenager. “The moment I got into the folk dance class it was, I always say, like a duck taking to water because it was the most natural thing in the world for me to do,” Carvajal says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He tried ballet soon after, and his talents led him to dance with ballet companies in France, Germany and his native San Francisco.\u003c/p>\n\u003cp>When Carvajal came back to San Francisco in the late 1960s, the city was at the height of a new wave of thinking, he says. It was the perfect environment to exercise his creativity. He did just that when he produced a dance for the San Francisco Ballet in the 1970s to \u003ca href=\"https://www.youtube.com/watch?v=yNi0bukYRnA\" target=\"_blank\">music composed by Terry Riley\u003c/a>.\u003c/p>\n\u003cp>“[The composition] was called 'In C,' got terrible reviews by the critics,\" Carvajal says. \"I mean just awful.\"\u003c/p>\n\u003cp>And the reviews for his ballet weren't much better. Undeterred, he decided to strike out on his own as a choreographer and started the San Francisco Dance Spectrum.\u003c/p>\n\u003cp>[contextly_sidebar id=\"Lwd2Fx7NiJfYPmcLikVOqL65SgNkzhGJ\"]\u003c/p>\n\u003cp>He says he enjoys stepping back to see the entirety of his production as much as dancing: “People have said, ‘Don't you miss not being on stage?’ and I say in return, ‘Do you see all of those people up there? That's me.' \"\u003c/p>\n\u003cp>At his new company’s studio, he hosted Flamenco Dancer \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=4818\" target=\"_blank\">Rosa Montoya\u003c/a> when she got her start in San Francisco. Indian classical dancer \u003ca href=\"http://www.kathak.org/\" target=\"_blank\">Chitresh Das\u003c/a> performed there as well.\u003c/p>\n\u003cp>It was there that the seeds for the Ethnic Dance Festival were planted. Carvajal helped bring the dancers to a larger stage at the festival. It was the first time dancers from such diverse backgrounds came together -- in 1978.\u003c/p>\n\u003cfigure id=\"attachment_10544999\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut.jpg\">\u003cimg class=\"wp-image-10544999 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-800x598.jpg\" alt=\"Carlos Carvajal (right) works with two groups performing a cross-cultural transition piece for this year's Ethnic Dance Festival. \" width=\"800\" height=\"598\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-800x598.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-400x299.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-1180x881.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-960x717.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut.jpg 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carlos Carvajal (right) works with two groups performing a cross-cultural transition piece for this year's Ethnic Dance Festival. \u003ccite>(Kyoungil Ong/San Francisco Ethnic Dance Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s unique in the entire world,\" Carvajal says. \"There is no place in the world where I know of a festival of this caliber, of this variety and excellence, except here in California.\"\u003c/p>\n\u003cp>Carvajal was named artistic director 10 years ago. As a person who loves folklore, he says, this was “like a fulfillment of a total dream.”\u003c/p>\n\u003cp>As Carvajal watches an old video in his San Francisco home, he notes that his age has, of course, slowed him down a bit. While he talks, a younger Carvajal appears on the grainy black-and-white screen, leaping across the stage.\u003c/p>\n\u003cp>“At the age of 84, I always say I don't dance like I used to when I was 20, of course. And no one does, and I don’t expect to and I never wanted to,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10534166\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut.jpg\">\u003cimg class=\"wp-image-10534166 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-800x600.jpg\" alt=\"Carvajal rehearses with his ballet students at a dance studio in San Leandro.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carvajal rehearses with his ballet students at a dance studio in San Leandro. \u003ccite>(Paayal Zaveri/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching him teach, it’s clear Carvajal still has the grace and spirit seen in that old video. It’s hard to tell he’s in his 80s as he demonstrates his choreography. And his students, like Jaliya Wilkinson, feel inspired by his enthusiasm.\u003c/p>\n\u003cp>“It makes me feel energetic and it just sort of brightens up the environment as well, too,” Wilkinson says. “It makes me want to work to my fullest potential.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For this year’s Ethnic Dance Festival, Carvajal will program the shows and design the stage. The dance space is a sacred space, he says, and he’s honored to lend his unique touch to the event.\u003c/p>\n\n",
"disqusIdentifier": "10532823 http://ww2.kqed.org/news/?p=10532823",
"disqusUrl": "https://ww2.kqed.org/news/2015/06/06/meet-the-man-behind-the-scenes-of-the-san-francisco-ethnic-dance-festival/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 756,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1434166494,
"excerpt": "At 84, Carlos Carvajal is living his dream by lending his unique touch to the Ethnic Dance Festival. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "At 84, ballet dancer and choreographer, Carlos Carvajal, is living out his dream as the co-artistic director for the San Francisco Ethnic Dance Festival.",
"title": "Meet the Man Behind the Scenes of the San Francisco Ethnic Dance Festival | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Meet the Man Behind the Scenes of the San Francisco Ethnic Dance Festival",
"datePublished": "2015-06-06T06:00:18-07:00",
"dateModified": "2015-06-12T20:34:54-07:00",
"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": "meet-the-man-behind-the-scenes-of-the-san-francisco-ethnic-dance-festival",
"status": "publish",
"path": "/news/10532823/meet-the-man-behind-the-scenes-of-the-san-francisco-ethnic-dance-festival",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Standing in front of a mirrored wall, dressed in khakis, a sweater and black ballet shoes, 84-year-old Carlos Carvajal taps along to the music. He’s rehearsing with a group of ballet students at a dance studio in San Leandro.\u003c/p>\n\u003cp>While the students watch, he moves his arms gracefully to demonstrate how to strike the proper pose. It’s effortless after all these years.\u003c/p>\n\u003cp>Carvajal is the co-artistic director for the annual \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-ethnic-dance-festival/\" target=\"_blank\">San Francisco Ethnic Dance Festival\u003c/a> opening this weekend, and an accomplished ballet dancer and choreographer.\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/210100880&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/210100880'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_10548471\" class=\"wp-caption alignright\" style=\"max-width: 743px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg\">\u003cimg class=\"wp-image-10548471 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg\" alt=\"Carvajal strikes a pose while rehearsing a ballet as a young dancer.\" width=\"743\" height=\"1145\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg 743w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut-400x616.jpg 400w\" sizes=\"(max-width: 743px) 100vw, 743px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carvajal strikes a pose while rehearsing a ballet as a young dancer. \u003ccite>(Courtesy of Carlos Carvajal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He got his start when he joined a folk dance class in San Francisco as a teenager. “The moment I got into the folk dance class it was, I always say, like a duck taking to water because it was the most natural thing in the world for me to do,” Carvajal 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>He tried ballet soon after, and his talents led him to dance with ballet companies in France, Germany and his native San Francisco.\u003c/p>\n\u003cp>When Carvajal came back to San Francisco in the late 1960s, the city was at the height of a new wave of thinking, he says. It was the perfect environment to exercise his creativity. He did just that when he produced a dance for the San Francisco Ballet in the 1970s to \u003ca href=\"https://www.youtube.com/watch?v=yNi0bukYRnA\" target=\"_blank\">music composed by Terry Riley\u003c/a>.\u003c/p>\n\u003cp>“[The composition] was called 'In C,' got terrible reviews by the critics,\" Carvajal says. \"I mean just awful.\"\u003c/p>\n\u003cp>And the reviews for his ballet weren't much better. Undeterred, he decided to strike out on his own as a choreographer and started the San Francisco Dance Spectrum.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>He says he enjoys stepping back to see the entirety of his production as much as dancing: “People have said, ‘Don't you miss not being on stage?’ and I say in return, ‘Do you see all of those people up there? That's me.' \"\u003c/p>\n\u003cp>At his new company’s studio, he hosted Flamenco Dancer \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=4818\" target=\"_blank\">Rosa Montoya\u003c/a> when she got her start in San Francisco. Indian classical dancer \u003ca href=\"http://www.kathak.org/\" target=\"_blank\">Chitresh Das\u003c/a> performed there as well.\u003c/p>\n\u003cp>It was there that the seeds for the Ethnic Dance Festival were planted. Carvajal helped bring the dancers to a larger stage at the festival. It was the first time dancers from such diverse backgrounds came together -- in 1978.\u003c/p>\n\u003cfigure id=\"attachment_10544999\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut.jpg\">\u003cimg class=\"wp-image-10544999 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-800x598.jpg\" alt=\"Carlos Carvajal (right) works with two groups performing a cross-cultural transition piece for this year's Ethnic Dance Festival. \" width=\"800\" height=\"598\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-800x598.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-400x299.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-1180x881.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-960x717.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut.jpg 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carlos Carvajal (right) works with two groups performing a cross-cultural transition piece for this year's Ethnic Dance Festival. \u003ccite>(Kyoungil Ong/San Francisco Ethnic Dance Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s unique in the entire world,\" Carvajal says. \"There is no place in the world where I know of a festival of this caliber, of this variety and excellence, except here in California.\"\u003c/p>\n\u003cp>Carvajal was named artistic director 10 years ago. As a person who loves folklore, he says, this was “like a fulfillment of a total dream.”\u003c/p>\n\u003cp>As Carvajal watches an old video in his San Francisco home, he notes that his age has, of course, slowed him down a bit. While he talks, a younger Carvajal appears on the grainy black-and-white screen, leaping across the stage.\u003c/p>\n\u003cp>“At the age of 84, I always say I don't dance like I used to when I was 20, of course. And no one does, and I don’t expect to and I never wanted to,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10534166\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut.jpg\">\u003cimg class=\"wp-image-10534166 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-800x600.jpg\" alt=\"Carvajal rehearses with his ballet students at a dance studio in San Leandro.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carvajal rehearses with his ballet students at a dance studio in San Leandro. \u003ccite>(Paayal Zaveri/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching him teach, it’s clear Carvajal still has the grace and spirit seen in that old video. It’s hard to tell he’s in his 80s as he demonstrates his choreography. And his students, like Jaliya Wilkinson, feel inspired by his enthusiasm.\u003c/p>\n\u003cp>“It makes me feel energetic and it just sort of brightens up the environment as well, too,” Wilkinson says. “It makes me want to work to my fullest potential.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For this year’s Ethnic Dance Festival, Carvajal will program the shows and design the stage. The dance space is a sacred space, he says, and he’s honored to lend his unique touch to the event.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10532823/meet-the-man-behind-the-scenes-of-the-san-francisco-ethnic-dance-festival",
"authors": [
"7609"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_18192",
"news_38",
"news_17286",
"news_17041"
],
"featImg": "news_10552037",
"label": "news_72"
},
"arts_10727890": {
"type": "posts",
"id": "arts_10727890",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10727890",
"score": null,
"sort": [
1433430019000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1433430019,
"format": "standard",
"title": "Is '94110,' San Francisco's Techie TV Drama, Just Performance Art?",
"headTitle": "Is ‘94110,’ San Francisco’s Techie TV Drama, Just Performance Art? | KQED",
"content": "\u003cp>When \u003ca href=\"http://sfist.com/2015/04/20/tv_pilot_94110_posts_mission_castin.php\" target=\"_blank\" rel=\"noopener\">news hit last month\u003c/a> of a television production company holding auditions for a new reality series called \u003cem>94110\u003c/em>, about “six leading technology executives living, learning, and loving together in San Francisco’s Mission District,” \u003ca href=\"https://twitter.com/DocPop/status/589827803220037632/photo/1\" target=\"_blank\" rel=\"noopener\">many on Twitter\u003c/a> and other online forums asked, “Is this real?”\u003c/p>\n\u003cp>Despite criticisms of the show’s \u003ca href=\"http://sfist.com/2015/05/07/here_are_the_roles_that_tv_pilot_94.php\" target=\"_blank\" rel=\"noopener\">character profiles\u003c/a> and \u003ca href=\"http://sfist.com/2015/05/18/monologues_for_mission_pilot_94110.php\" target=\"_blank\" rel=\"noopener\">dialogue\u003c/a>, close to \u003ca href=\"http://missionlocal.org/2015/05/close-to-100-actors-audition-for-parts-in-94110/\" target=\"_blank\" rel=\"noopener\">100 local actors auditioned\u003c/a> for the show over a two-day period in May. \u003c/p>\n\u003cp>But now, with more information known about the team behind \u003cem>94110\u003c/em>, skepticism of the show’s validity seems warranted, especially when considering that a noted prankster is involved. The point person for the show — described by one producer as “Mark Zuckerberg fan fiction” — is Oakland performance artist Scott Vermeire.\u003c/p>\n\u003cfigure id=\"attachment_10703874\" class=\"wp-caption alignright\" style=\"max-width: 288px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Not-Smiling-Scott-Vermeire.jpeg\" alt=\"Scott Vermeire (Courtesy of Scott Vermeire)\" width=\"288\" height=\"434\" class=\"size-full wp-image-10703874\">\u003cfigcaption class=\"wp-caption-text\">Scott Vermeire (Courtesy of Scott Vermeire)\u003c/figcaption>\u003c/figure>\n\u003cp>For anyone hoping to take the show at face value, Vermeire’s association with \u003cem>94110\u003c/em> is a red flag. Like mischief-making actor Sascha Baron Cohen of \u003cem>Borat\u003c/em> and \u003cem>Ali G\u003c/em> fame, Vermeire portrays absurd characters, invents ridiculous products, and sells both in remarkably believable fashion. His past projects include “\u003ca href=\"https://www.youtube.com/watch?t=15&v=vKTmClPyHA0\" target=\"_blank\" rel=\"noopener\">Blinder\u003c/a>,” with Vermeire acting as a corporate salesman for a Google Glass app that allows users to pixelate unwelcome people out of view (suggested targets: the homeless and elderly); his band \u003ca href=\"http://www.sadvicious.com/\" target=\"_blank\" rel=\"noopener\">Sad Vicious\u003c/a>, which identifies as “San Jose’s Most Hated Band™”; and his contributions to the \u003ca href=\"http://wondermentconsortium.com/\" target=\"_blank\" rel=\"noopener\">Wonderment Consortium\u003c/a>, the Oakland-based art collective which launched the infamous Kickstarter campaign to build \u003ca href=\"http://www.dailydot.com/culture/kickstarter-tom-hanks-paper-mache-statue/\" target=\"_blank\" rel=\"noopener\">a papier-mâché statue of Tom Hanks’ \u003cem>Castaway\u003c/em> character\u003c/a> in front of as many Bay Area high schools as possible.\u003c/p>\n\u003cp>Vermeire isn’t a producer on \u003ci>94110\u003c/i> — the “award-winning” producers have so far been kept anonymous. But he is the director of marketing and communications for the show, and I reached out to him last month. Vermeire told me that his association with the TV show doesn’t disqualify it from being a real project, pointing to his real-life status as a successful businessman (Vermeire is co-owner of the \u003ca href=\"http://prmeatco.com/\" target=\"_blank\" rel=\"noopener\">Prather Ranch Meat Company,\u003c/a> inside San Francisco’s Ferry Building). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“First and foremost, I’m an entrepreneur,” Vermeire replied. “I’m also a media artist and yes, I’m funny. But this project capitalizes mostly on my skills as a visionary, my ability to communicate a new idea to a broad audience. The producers of \u003cem>94110\u003c/em> had seen some work I did with a group called Thunderball Media, and they liked my tenacity, so here we are.”\u003c/p>\n\u003cp>Here’s the thing — Thunderball Media* is not a real company, and it probably never was; it’s the company Vermeire pretends to represent when he performs “Blinder.” That’s how hard Vermeire sells his concepts: he never lets on that they’re a joke, no matter how lunatic they appear.\u003c/p>\n\u003cfigure id=\"attachment_10702677\" class=\"wp-caption alignright\" style=\"max-width: 620px\">\u003ca href=\"http://missionlocal.org/2015/05/close-to-100-actors-audition-for-parts-in-94110/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/94110-auditions.jpg\" alt=\"Outside the <i>94110</i> auditions at SFAQ (Courtesy of Jenny Manrique/Mission Local)\" width=\"620\" height=\"413\" class=\"size-full wp-image-10702677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/94110-auditions.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/94110-auditions-400x266.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Outside the \u003ci>94110\u003c/i> auditions at SFAQ (Courtesy of Jenny Manrique/Mission Local)\u003c/figcaption>\u003c/figure>\n\u003cp>I then contacted Andrew McClintock, the Publisher and Editor-in-Chief of the arts magazine \u003cem>\u003ca href=\"http://sfaq.us/\" target=\"_blank\" rel=\"noopener\">SF Arts Quarterly,\u003c/a>\u003c/em> which hosted the auditions for \u003ci>94110\u003c/i> at the publication’s office on O’Farrell Street.\u003c/p>\n\u003cp>When asked about SFAQ’s role in the creation of \u003ci>94110\u003c/i>, McClintock was straightforward with his answer: none at all, except for offering the space for two days. But he also added that he has no desire for involvement with the project “in any capacity moving forward.” \u003c/p>\n\u003cp>“In hindsight, this TV show goes against what we stand for, and we don’t feel the production team was 100-percent upfront with us,” McClintock said. “I have since terminated communication with them.”\u003c/p>\n\u003cp>Vermeire has stated that the producers require those close to the project to sign non-disclosure agreements, which may explain McClintock’s inability to explain what exactly went wrong. But when asked why the producers insisted on remaining anonymous, his answer was vague but telling.\u003c/p>\n\u003cp>“We thought it was for a reason,” McClintock said, “that it didn’t turn out to be.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Records show that a Thunderball Media \u003ca href=\"http://www.corporationwiki.com/California/Santa-Monica/thunderball-media-llc/46673683.aspx\" target=\"_blank\" rel=\"noopener\">did exist for a time in Santa Monica\u003c/a>, but when asked, Vermeire said that the company was based in San Francisco.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 734,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705047011,
"excerpt": "Those following the story behind \u003ci>94110\u003c/i>, the San Francisco-based TV drama being put together these past few months, have probably asked themselves, \"Is this real?\" A cursory look at the players involved in the project would justify those suspicions. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Those following the story behind 94110, the San Francisco-based TV drama being put together these past few months, have probably asked themselves, "Is this real?" A cursory look at the players involved in the project would justify those suspicions. ",
"title": "Is '94110,' San Francisco's Techie TV Drama, Just Performance Art? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Is '94110,' San Francisco's Techie TV Drama, Just Performance Art?",
"datePublished": "2015-06-04T08:00:19-07:00",
"dateModified": "2024-01-12T00:10:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "is-94110-san-franciscos-techie-tv-drama-just-performance-art",
"status": "publish",
"sticky": false,
"path": "/arts/10727890/is-94110-san-franciscos-techie-tv-drama-just-performance-art",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"http://sfist.com/2015/04/20/tv_pilot_94110_posts_mission_castin.php\" target=\"_blank\" rel=\"noopener\">news hit last month\u003c/a> of a television production company holding auditions for a new reality series called \u003cem>94110\u003c/em>, about “six leading technology executives living, learning, and loving together in San Francisco’s Mission District,” \u003ca href=\"https://twitter.com/DocPop/status/589827803220037632/photo/1\" target=\"_blank\" rel=\"noopener\">many on Twitter\u003c/a> and other online forums asked, “Is this real?”\u003c/p>\n\u003cp>Despite criticisms of the show’s \u003ca href=\"http://sfist.com/2015/05/07/here_are_the_roles_that_tv_pilot_94.php\" target=\"_blank\" rel=\"noopener\">character profiles\u003c/a> and \u003ca href=\"http://sfist.com/2015/05/18/monologues_for_mission_pilot_94110.php\" target=\"_blank\" rel=\"noopener\">dialogue\u003c/a>, close to \u003ca href=\"http://missionlocal.org/2015/05/close-to-100-actors-audition-for-parts-in-94110/\" target=\"_blank\" rel=\"noopener\">100 local actors auditioned\u003c/a> for the show over a two-day period in May. \u003c/p>\n\u003cp>But now, with more information known about the team behind \u003cem>94110\u003c/em>, skepticism of the show’s validity seems warranted, especially when considering that a noted prankster is involved. The point person for the show — described by one producer as “Mark Zuckerberg fan fiction” — is Oakland performance artist Scott Vermeire.\u003c/p>\n\u003cfigure id=\"attachment_10703874\" class=\"wp-caption alignright\" style=\"max-width: 288px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Not-Smiling-Scott-Vermeire.jpeg\" alt=\"Scott Vermeire (Courtesy of Scott Vermeire)\" width=\"288\" height=\"434\" class=\"size-full wp-image-10703874\">\u003cfigcaption class=\"wp-caption-text\">Scott Vermeire (Courtesy of Scott Vermeire)\u003c/figcaption>\u003c/figure>\n\u003cp>For anyone hoping to take the show at face value, Vermeire’s association with \u003cem>94110\u003c/em> is a red flag. Like mischief-making actor Sascha Baron Cohen of \u003cem>Borat\u003c/em> and \u003cem>Ali G\u003c/em> fame, Vermeire portrays absurd characters, invents ridiculous products, and sells both in remarkably believable fashion. His past projects include “\u003ca href=\"https://www.youtube.com/watch?t=15&v=vKTmClPyHA0\" target=\"_blank\" rel=\"noopener\">Blinder\u003c/a>,” with Vermeire acting as a corporate salesman for a Google Glass app that allows users to pixelate unwelcome people out of view (suggested targets: the homeless and elderly); his band \u003ca href=\"http://www.sadvicious.com/\" target=\"_blank\" rel=\"noopener\">Sad Vicious\u003c/a>, which identifies as “San Jose’s Most Hated Band™”; and his contributions to the \u003ca href=\"http://wondermentconsortium.com/\" target=\"_blank\" rel=\"noopener\">Wonderment Consortium\u003c/a>, the Oakland-based art collective which launched the infamous Kickstarter campaign to build \u003ca href=\"http://www.dailydot.com/culture/kickstarter-tom-hanks-paper-mache-statue/\" target=\"_blank\" rel=\"noopener\">a papier-mâché statue of Tom Hanks’ \u003cem>Castaway\u003c/em> character\u003c/a> in front of as many Bay Area high schools as possible.\u003c/p>\n\u003cp>Vermeire isn’t a producer on \u003ci>94110\u003c/i> — the “award-winning” producers have so far been kept anonymous. But he is the director of marketing and communications for the show, and I reached out to him last month. Vermeire told me that his association with the TV show doesn’t disqualify it from being a real project, pointing to his real-life status as a successful businessman (Vermeire is co-owner of the \u003ca href=\"http://prmeatco.com/\" target=\"_blank\" rel=\"noopener\">Prather Ranch Meat Company,\u003c/a> inside San Francisco’s Ferry Building). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“First and foremost, I’m an entrepreneur,” Vermeire replied. “I’m also a media artist and yes, I’m funny. But this project capitalizes mostly on my skills as a visionary, my ability to communicate a new idea to a broad audience. The producers of \u003cem>94110\u003c/em> had seen some work I did with a group called Thunderball Media, and they liked my tenacity, so here we are.”\u003c/p>\n\u003cp>Here’s the thing — Thunderball Media* is not a real company, and it probably never was; it’s the company Vermeire pretends to represent when he performs “Blinder.” That’s how hard Vermeire sells his concepts: he never lets on that they’re a joke, no matter how lunatic they appear.\u003c/p>\n\u003cfigure id=\"attachment_10702677\" class=\"wp-caption alignright\" style=\"max-width: 620px\">\u003ca href=\"http://missionlocal.org/2015/05/close-to-100-actors-audition-for-parts-in-94110/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/94110-auditions.jpg\" alt=\"Outside the <i>94110</i> auditions at SFAQ (Courtesy of Jenny Manrique/Mission Local)\" width=\"620\" height=\"413\" class=\"size-full wp-image-10702677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/94110-auditions.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/94110-auditions-400x266.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Outside the \u003ci>94110\u003c/i> auditions at SFAQ (Courtesy of Jenny Manrique/Mission Local)\u003c/figcaption>\u003c/figure>\n\u003cp>I then contacted Andrew McClintock, the Publisher and Editor-in-Chief of the arts magazine \u003cem>\u003ca href=\"http://sfaq.us/\" target=\"_blank\" rel=\"noopener\">SF Arts Quarterly,\u003c/a>\u003c/em> which hosted the auditions for \u003ci>94110\u003c/i> at the publication’s office on O’Farrell Street.\u003c/p>\n\u003cp>When asked about SFAQ’s role in the creation of \u003ci>94110\u003c/i>, McClintock was straightforward with his answer: none at all, except for offering the space for two days. But he also added that he has no desire for involvement with the project “in any capacity moving forward.” \u003c/p>\n\u003cp>“In hindsight, this TV show goes against what we stand for, and we don’t feel the production team was 100-percent upfront with us,” McClintock said. “I have since terminated communication with them.”\u003c/p>\n\u003cp>Vermeire has stated that the producers require those close to the project to sign non-disclosure agreements, which may explain McClintock’s inability to explain what exactly went wrong. But when asked why the producers insisted on remaining anonymous, his answer was vague but telling.\u003c/p>\n\u003cp>“We thought it was for a reason,” McClintock said, “that it didn’t turn out to be.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Records show that a Thunderball Media \u003ca href=\"http://www.corporationwiki.com/California/Santa-Monica/thunderball-media-llc/46673683.aspx\" target=\"_blank\" rel=\"noopener\">did exist for a time in Santa Monica\u003c/a>, but when asked, Vermeire said that the company was based in San Francisco.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10727890/is-94110-san-franciscos-techie-tv-drama-just-performance-art",
"authors": [
"93"
],
"categories": [
"arts_235",
"arts_75"
],
"tags": [
"arts_596"
],
"featImg": "arts_10702231",
"label": "arts"
},
"arts_10726174": {
"type": "posts",
"id": "arts_10726174",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10726174",
"score": null,
"sort": [
1433369559000
]
},
"guestAuthors": [],
"slug": "berkeleys-shakespeare-co-books-closes-after-51-years",
"title": "Berkeley's Shakespeare & Co. Books Closes After 51 Years",
"publishDate": 1433369559,
"format": "standard",
"headTitle": "Berkeley’s Shakespeare & Co. Books Closes After 51 Years | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Berkeley’s \u003ca href=\"http://www.shakespeareandcobooks.com/\" target=\"_blank\" rel=\"noopener\">Shakespeare & Co. Books\u003c/a>, one of the oldest independent bookstores in the Bay Area, closed abruptly Tuesday night after 51 years in business. Owner Jon Wobber confirmed the closure to KQED the following morning.\u003c/p>\n\u003cp>A homey space on the corner of Dwight and Telegraph Ave., the store was a longtime hub for bibliophiles thanks to its packed shelves of hard-to-find used fiction, poetry, and nonfiction; the store also played host to the kind of political tomes, metaphysical oddities, and literary events that whispered of a different, more radical time in Berkeley’s history.\u003c/p>\n\u003cp>But staring down the cost of necessary renovations and dwindling sales, the business hadn’t been profitable for “the past four or five years,” said Wobber by phone from Cotati, where he lives. “It happened quickly, but it’s also been happening for a long time.”\u003c/p>\n\u003cp>Wobber has been associated with Shakespeare and Co. for 25 years; he worked there part-time before buying the business in 2004. But since around 2010, “I’ve been putting in 65-hour weeks, and we haven’t been earning anything out of it … so when the previous owners decided to put the building on the market in March of 2014, I had to step back and say, ‘Whatever’s going on here, this is not a sustainable formula.’”\u003c/p>\n\u003cp>The building at 2499 Telegraph had been owned by successive generations of one family — the Kesslers — since 1915. In October 2014, the building was purchased by Telegraph Partners LLC, a group that owns a handful of other retail spaces on the block, including the Sweet Leaf cafe and Pieology, a pizzeria.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At that time, partner Ito Ripsteen (a broker who also serves as a board member for the Downtown Berkeley Association) \u003ca href=\"//www.contracostatimes.com/west-county-times/ci_26643944/berkeley-property-partner-sees-bright-future-telegraph\" target=\"_blank\" rel=\"noopener\">told the \u003cem>Contra Costa Times\u003c/em> that he had no immediate plans to bring in new tenants\u003c/a>. But Wobber was soon informed that the group wanted the store to undergo sweeping renovations — “not leveling the building, but [construction and remodeling] inside and out,” he says. This would have meant Shakespeare closing for six to nine months, something Wobber felt the store could not withstand financially.\u003c/p>\n\u003cp>Wobber says he understands the owners’ predicament, and is friendly with the landlord. “[Ripsteen] would like to have me there, I completely understand, but it’s just not practical.” Wobber said he believes the landlord is “committed to retail,” but otherwise couldn’t speculate on the fate of the building. Ripsteen was not immediately available for comment.\u003c/p>\n\u003cp>As for dwindling business, Wobber points to both e-books and the rise of online giants like Amazon (which “seems to have a goal of driving the hard copy book out of existence,” he says), as well as “a changing culture” and shifts in Berkeley’s landscape.\u003c/p>\n\u003cp>“People want things to be a lot more immediate, and I’m afraid we’re living in a kind of soundbite culture … there’s also just not as much foot traffic on Telegraph as there used to be. Berkeley’s more focused toward downtown now, maybe.”\u003c/p>\n\u003cp>Wobber put the bookstore on the market in August of last year, but said he hadn’t gotten any solid offers until he made a call late last week to Powell’s Books, the Portland, Oregon-based store that bills itself as “the largest independent used and new bookstore in the world.”\u003c/p>\n\u003cp>Buyers from Powell’s flew down within days; after surveying the store Tuesday afternoon, they made Wobber an offer for his entire stock, and Shakespeare and Co. closed for good at 8pm last night.\u003c/p>\n\u003cp>Lovers of actual physical books will note that this is hardly an isolated event, especially in Berkeley: Cody’s Books, another independent Telegraph Ave. stalwart since 1956, shut down in 2008, facing similar financial pressures. Though a few other booksellers remain nearby — the tiny Revolution Books is tucked into a small shopping center off Channing — Shakespeare and Co.’s closure means that Moe’s Books, which has been in business just across the street from Shakespeare since the mid-’60s, is technically the last bookstore on the Avenue.\u003c/p>\n\u003cp>According to writer \u003ca href=\"http://en.wikipedia.org/wiki/Aaron_Cometbus\" target=\"_blank\" rel=\"noopener\">Aaron Elliott\u003c/a>, who published an entire issue of his \u003ci>Cometbus \u003c/i>zine dedicated to the history of Telegraph Avenue, Moe’s maintained a bitter, long-running feud with Shakespeare & Co. One anecdote in \u003ci>Cometbus \u003c/i>recounts the one and only time Moe’s Books owner Moe Moskowitz set foot inside the competing store: Moskowitz chased a shoplifter across the street and into Shakespeare & Co., looked around, realized where he was and walked out.\u003c/p>\n\u003cp>Wobber shows no signs of such bitterness, however. “Moe’s is a great place,” he said. “I’ve been friendly with them. They were among the first to hear, and a couple [employees] came right over to wish me well.”\u003c/p>\n\u003cp>As for him, he plans to focus on Vicarious Experience, a store he’s owned — in a building he also owns — since 1979. He closed it temporarily when he took over Shakespeare in 2004, but with that store closing, he’ll be back in Cotati full-time, full steam ahead. If people miss the Shakespeare & Co. experience, they should come see him in Cotati, he said. “It’s still the same person selling books.”\u003c/p>\n\u003cp>Still, he acknowledges Shakespeare’s closing is “a big event” — for him personally, as well as for Berkeley.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We had a good bookstore,” he says. “I had a lot of good relationships there with people from all walks of life. Some of our best customers didn’t have a home and just needed a place to read … it was a community. And I’ll miss being part of it.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "\"We had a good bookstore,\" said Jon Wobber of the Telegraph Avenue business, a home for used book lovers since 1964.",
"status": "publish",
"parent": 0,
"modified": 1726700952,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 1026
},
"headData": {
"title": "Berkeley's Shakespeare & Co. Books Closes After 51 Years | KQED",
"description": ""We had a good bookstore," said Jon Wobber of the Telegraph Avenue business, a home for used book lovers since 1964.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Berkeley's Shakespeare & Co. Books Closes After 51 Years",
"datePublished": "2015-06-03T15:12:39-07:00",
"dateModified": "2024-09-18T16:09:12-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "464727087",
"path": "/arts/10726174/berkeleys-shakespeare-co-books-closes-after-51-years",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Berkeley’s \u003ca href=\"http://www.shakespeareandcobooks.com/\" target=\"_blank\" rel=\"noopener\">Shakespeare & Co. Books\u003c/a>, one of the oldest independent bookstores in the Bay Area, closed abruptly Tuesday night after 51 years in business. Owner Jon Wobber confirmed the closure to KQED the following morning.\u003c/p>\n\u003cp>A homey space on the corner of Dwight and Telegraph Ave., the store was a longtime hub for bibliophiles thanks to its packed shelves of hard-to-find used fiction, poetry, and nonfiction; the store also played host to the kind of political tomes, metaphysical oddities, and literary events that whispered of a different, more radical time in Berkeley’s history.\u003c/p>\n\u003cp>But staring down the cost of necessary renovations and dwindling sales, the business hadn’t been profitable for “the past four or five years,” said Wobber by phone from Cotati, where he lives. “It happened quickly, but it’s also been happening for a long time.”\u003c/p>\n\u003cp>Wobber has been associated with Shakespeare and Co. for 25 years; he worked there part-time before buying the business in 2004. But since around 2010, “I’ve been putting in 65-hour weeks, and we haven’t been earning anything out of it … so when the previous owners decided to put the building on the market in March of 2014, I had to step back and say, ‘Whatever’s going on here, this is not a sustainable formula.’”\u003c/p>\n\u003cp>The building at 2499 Telegraph had been owned by successive generations of one family — the Kesslers — since 1915. In October 2014, the building was purchased by Telegraph Partners LLC, a group that owns a handful of other retail spaces on the block, including the Sweet Leaf cafe and Pieology, a pizzeria.\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>At that time, partner Ito Ripsteen (a broker who also serves as a board member for the Downtown Berkeley Association) \u003ca href=\"//www.contracostatimes.com/west-county-times/ci_26643944/berkeley-property-partner-sees-bright-future-telegraph\" target=\"_blank\" rel=\"noopener\">told the \u003cem>Contra Costa Times\u003c/em> that he had no immediate plans to bring in new tenants\u003c/a>. But Wobber was soon informed that the group wanted the store to undergo sweeping renovations — “not leveling the building, but [construction and remodeling] inside and out,” he says. This would have meant Shakespeare closing for six to nine months, something Wobber felt the store could not withstand financially.\u003c/p>\n\u003cp>Wobber says he understands the owners’ predicament, and is friendly with the landlord. “[Ripsteen] would like to have me there, I completely understand, but it’s just not practical.” Wobber said he believes the landlord is “committed to retail,” but otherwise couldn’t speculate on the fate of the building. Ripsteen was not immediately available for comment.\u003c/p>\n\u003cp>As for dwindling business, Wobber points to both e-books and the rise of online giants like Amazon (which “seems to have a goal of driving the hard copy book out of existence,” he says), as well as “a changing culture” and shifts in Berkeley’s landscape.\u003c/p>\n\u003cp>“People want things to be a lot more immediate, and I’m afraid we’re living in a kind of soundbite culture … there’s also just not as much foot traffic on Telegraph as there used to be. Berkeley’s more focused toward downtown now, maybe.”\u003c/p>\n\u003cp>Wobber put the bookstore on the market in August of last year, but said he hadn’t gotten any solid offers until he made a call late last week to Powell’s Books, the Portland, Oregon-based store that bills itself as “the largest independent used and new bookstore in the world.”\u003c/p>\n\u003cp>Buyers from Powell’s flew down within days; after surveying the store Tuesday afternoon, they made Wobber an offer for his entire stock, and Shakespeare and Co. closed for good at 8pm last night.\u003c/p>\n\u003cp>Lovers of actual physical books will note that this is hardly an isolated event, especially in Berkeley: Cody’s Books, another independent Telegraph Ave. stalwart since 1956, shut down in 2008, facing similar financial pressures. Though a few other booksellers remain nearby — the tiny Revolution Books is tucked into a small shopping center off Channing — Shakespeare and Co.’s closure means that Moe’s Books, which has been in business just across the street from Shakespeare since the mid-’60s, is technically the last bookstore on the Avenue.\u003c/p>\n\u003cp>According to writer \u003ca href=\"http://en.wikipedia.org/wiki/Aaron_Cometbus\" target=\"_blank\" rel=\"noopener\">Aaron Elliott\u003c/a>, who published an entire issue of his \u003ci>Cometbus \u003c/i>zine dedicated to the history of Telegraph Avenue, Moe’s maintained a bitter, long-running feud with Shakespeare & Co. One anecdote in \u003ci>Cometbus \u003c/i>recounts the one and only time Moe’s Books owner Moe Moskowitz set foot inside the competing store: Moskowitz chased a shoplifter across the street and into Shakespeare & Co., looked around, realized where he was and walked out.\u003c/p>\n\u003cp>Wobber shows no signs of such bitterness, however. “Moe’s is a great place,” he said. “I’ve been friendly with them. They were among the first to hear, and a couple [employees] came right over to wish me well.”\u003c/p>\n\u003cp>As for him, he plans to focus on Vicarious Experience, a store he’s owned — in a building he also owns — since 1979. He closed it temporarily when he took over Shakespeare in 2004, but with that store closing, he’ll be back in Cotati full-time, full steam ahead. If people miss the Shakespeare & Co. experience, they should come see him in Cotati, he said. “It’s still the same person selling books.”\u003c/p>\n\u003cp>Still, he acknowledges Shakespeare’s closing is “a big event” — for him personally, as well as for Berkeley.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We had a good bookstore,” he says. “I had a lot of good relationships there with people from all walks of life. Some of our best customers didn’t have a home and just needed a place to read … it was a community. And I’ll miss being part of it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10726174/berkeleys-shakespeare-co-books-closes-after-51-years",
"authors": [
"7237"
],
"categories": [
"arts_73",
"arts_235"
],
"featImg": "arts_10726635",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=news": {
"isFetching": false,
"latestQuery": {
"from": 3468,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3716,
"relation": "eq"
},
"items": [
"news_10560733",
"news_10560616",
"arts_10753290",
"arts_10752586",
"arts_10752447",
"news_10556735",
"news_10557292",
"news_10552353",
"arts_10730524",
"news_10532823",
"arts_10727890",
"arts_10726174"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_news": {
"isLoading": true
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"news_6944": {
"type": "terms",
"id": "news_6944",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "6944",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/News-Fix-Logo-Web-Banners-04.png",
"name": "News Fix",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "The News Fix is a daily news podcast from KQED that breaks down the latest headlines and provides in-depth analysis of the stories that matter to the Bay Area.",
"title": "News Fix - Daily Dose of Bay Area News | KQED",
"ogDescription": null
},
"ttid": 6968,
"slug": "news-fix",
"isLoading": false,
"link": "/news/program/news-fix"
},
"news_223": {
"type": "terms",
"id": "news_223",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "223",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED News",
"ogDescription": null
},
"ttid": 231,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/news/category/arts-and-culture"
},
"news_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_23": {
"type": "terms",
"id": "news_23",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "23",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Quentin State Prison",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Quentin State Prison Archives | KQED News",
"ogDescription": null
},
"ttid": 23,
"slug": "san-quentin-state-prison",
"isLoading": false,
"link": "/news/tag/san-quentin-state-prison"
},
"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"
},
"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_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_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"news_1758": {
"type": "terms",
"id": "news_1758",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "1758",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Economy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Full coverage of the economy",
"title": "Economy Archives | KQED News",
"ogDescription": null
},
"ttid": 2648,
"slug": "economy",
"isLoading": false,
"link": "/news/category/economy"
},
"news_6266": {
"type": "terms",
"id": "news_6266",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "6266",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Housing",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Housing Archives | KQED News",
"ogDescription": null
},
"ttid": 6290,
"slug": "housing",
"isLoading": false,
"link": "/news/category/housing"
},
"news_4613": {
"type": "terms",
"id": "news_4613",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "4613",
"found": true
},
"relationships": {},
"featImg": null,
"name": "gentrification",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "gentrification Archives | KQED News",
"ogDescription": null
},
"ttid": 4632,
"slug": "gentrification",
"isLoading": false,
"link": "/news/tag/gentrification"
},
"news_137": {
"type": "terms",
"id": "news_137",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "137",
"found": true
},
"relationships": {},
"featImg": null,
"name": "real estate",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "real estate Archives | KQED News",
"ogDescription": null
},
"ttid": 141,
"slug": "real-estate",
"isLoading": false,
"link": "/news/tag/real-estate"
},
"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"
},
"news_1222": {
"type": "terms",
"id": "news_1222",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "1222",
"found": true
},
"relationships": {},
"featImg": null,
"name": "poetry",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "poetry Archives | KQED News",
"ogDescription": null
},
"ttid": 1234,
"slug": "poetry",
"isLoading": false,
"link": "/news/tag/poetry"
},
"news_17719": {
"type": "terms",
"id": "news_17719",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17719",
"found": true
},
"relationships": {},
"featImg": null,
"name": "film",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "film Archives | KQED News",
"ogDescription": null
},
"ttid": 17753,
"slug": "film",
"isLoading": false,
"link": "/news/tag/film"
},
"news_5438": {
"type": "terms",
"id": "news_5438",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "5438",
"found": true
},
"relationships": {},
"featImg": null,
"name": "gay rights",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "gay rights Archives | KQED News",
"ogDescription": null
},
"ttid": 5461,
"slug": "gay-rights",
"isLoading": false,
"link": "/news/tag/gay-rights"
},
"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_18192": {
"type": "terms",
"id": "news_18192",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "18192",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dance",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "dance Archives | KQED News",
"ogDescription": null
},
"ttid": 18226,
"slug": "dance",
"isLoading": false,
"link": "/news/tag/dance"
},
"news_17286": {
"type": "terms",
"id": "news_17286",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17286",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tcr",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tcr Archives | KQED News",
"ogDescription": null
},
"ttid": 17318,
"slug": "tcr",
"isLoading": false,
"link": "/news/tag/tcr"
},
"news_17041": {
"type": "terms",
"id": "news_17041",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17041",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-california-report-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-california-report-featured Archives | KQED News",
"ogDescription": null
},
"ttid": 17067,
"slug": "the-california-report-featured",
"isLoading": false,
"link": "/news/tag/the-california-report-featured"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
}
},
"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
}
}
