window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13885048": {
"type": "attachments",
"id": "arts_13885048",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13885048",
"found": true
},
"parent": 13885046,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/GettyImages-621798258-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/GettyImages-621798258-160x100.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/GettyImages-621798258-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/GettyImages-621798258-scaled-e1597869089108.jpg",
"width": 1920,
"height": 1196
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/GettyImages-621798258-2048x1275.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1275
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/GettyImages-621798258-1020x635.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 635
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/GettyImages-621798258-1536x956.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 956
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/GettyImages-621798258-1920x1195.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1195
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/GettyImages-621798258-800x498.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 498
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/GettyImages-621798258-768x478.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 478
}
},
"publishDate": 1597869069,
"modified": 1597869235,
"caption": "People line up to cast their ballots at a Michigan polling station in 2016.",
"description": "People line up to cast their ballots at a Michigan polling station in 2016.",
"title": "People line up to cast their ballots at a Michigan polling station in 2016.",
"credit": "NOVA SAFO/AFP via Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13885015": {
"type": "attachments",
"id": "arts_13885015",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13885015",
"found": true
},
"parent": 13885012,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/williebrowndnc_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/williebrowndnc_COVER-160x122.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 122
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/williebrowndnc_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/williebrowndnc_COVER.jpg",
"width": 1920,
"height": 1463
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/williebrowndnc_COVER-1020x777.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 777
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/williebrowndnc_COVER-1536x1170.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1170
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/williebrowndnc_COVER-800x610.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 610
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/williebrowndnc_COVER-768x585.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 585
}
},
"publishDate": 1597809339,
"modified": 1597809425,
"caption": "Willie Brown at the 1972 Democratic National Convention in Top Value Television's 'The World's Largest TV Studio.'",
"description": "Willie Brown at the 1972 Democratic National Convention in Top Value Television's 'The World's Largest TV Studio.'",
"title": "williebrowndnc_COVER",
"credit": "Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13884912": {
"type": "attachments",
"id": "arts_13884912",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13884912",
"found": true
},
"parent": 13883630,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/myra_virginia_simmons_final-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/myra_virginia_simmons_final-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/myra_virginia_simmons_final-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/myra_virginia_simmons_final.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/myra_virginia_simmons_final-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/myra_virginia_simmons_final-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/myra_virginia_simmons_final-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/myra_virginia_simmons_final-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1597696771,
"modified": 1636504309,
"caption": "A gathering of the California State Federation of Colored Women’s Clubs in Oakland, which took place July 27-29, 1915. Myra Virginia Simmons would undoubtedly have been in attendance.",
"description": "A gathering of the California State Federation of Colored Women’s Clubs in Oakland, which took place July 27-29, 1915. Myra Virginia Simmons would undoubtedly have been in attendance.",
"title": "A gathering of the California State Federation of Colored Women’s Clubs in Oakland, which took place July 27-29, 1915. Myra Virginia Simmons would undoubtedly have been in attendance.",
"credit": null,
"status": "inherit",
"altTag": "Scores of smartly dressed Black women line up across seven steps. Many of them smile proudly.",
"isLoading": false,
"fetchFailed": false
},
"arts_13884929": {
"type": "attachments",
"id": "arts_13884929",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13884929",
"found": true
},
"parent": 13884928,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/gettyimages-1554415_wide-8f84f2146fb9f385da8ffe4f0491572041ed6040-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/gettyimages-1554415_wide-8f84f2146fb9f385da8ffe4f0491572041ed6040-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/gettyimages-1554415_wide-8f84f2146fb9f385da8ffe4f0491572041ed6040-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/gettyimages-1554415_wide-8f84f2146fb9f385da8ffe4f0491572041ed6040-scaled-e1597708151946.jpg",
"width": 1920,
"height": 1079
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/gettyimages-1554415_wide-8f84f2146fb9f385da8ffe4f0491572041ed6040-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/gettyimages-1554415_wide-8f84f2146fb9f385da8ffe4f0491572041ed6040-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/gettyimages-1554415_wide-8f84f2146fb9f385da8ffe4f0491572041ed6040-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/gettyimages-1554415_wide-8f84f2146fb9f385da8ffe4f0491572041ed6040-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/gettyimages-1554415_wide-8f84f2146fb9f385da8ffe4f0491572041ed6040-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/gettyimages-1554415_wide-8f84f2146fb9f385da8ffe4f0491572041ed6040-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1597707913,
"modified": 1709075534,
"caption": "(L) Jason ‘Jam Master Jay’ Mizell with Darryl ‘DMC’ McDaniels and Joseph ‘DJ Run’ Simmons of RUN-DMC.",
"description": null,
"title": "(L) Jason ‘Jam Master Jay’ Mizell with Darryl ‘DMC’ McDaniels and Joseph ‘DJ Run’ Simmons of RUN-DMC.",
"credit": "Vince Bucci/ Getty Images",
"status": "inherit",
"altTag": "Three Black men wearing black clothes and hats stand together in a line.",
"isLoading": false,
"fetchFailed": false
},
"arts_13884872": {
"type": "attachments",
"id": "arts_13884872",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13884872",
"found": true
},
"parent": 13884863,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/CAAMFilmmakers_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/CAAMFilmmakers_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/CAAMFilmmakers_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/CAAMFilmmakers_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/CAAMFilmmakers_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/CAAMFilmmakers_COVER-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/CAAMFilmmakers_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/CAAMFilmmakers_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1597443700,
"modified": 1597443738,
"caption": "Funds for the emergency grants come from the Sundance Institute.",
"description": "Funds for the emergency grants come from the Sundance Institute.",
"title": "CAAMFilmmakers_COVER",
"credit": "iStock",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13884794": {
"type": "attachments",
"id": "arts_13884794",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13884794",
"found": true
},
"parent": 13884793,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1044056400_wide-7d972679c800e7852694688e7925f73479cb02a8-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1044056400_wide-7d972679c800e7852694688e7925f73479cb02a8-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1044056400_wide-7d972679c800e7852694688e7925f73479cb02a8-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1044056400_wide-7d972679c800e7852694688e7925f73479cb02a8-e1597358216708.jpg",
"width": 1920,
"height": 1079
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1044056400_wide-7d972679c800e7852694688e7925f73479cb02a8-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1044056400_wide-7d972679c800e7852694688e7925f73479cb02a8-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1044056400_wide-7d972679c800e7852694688e7925f73479cb02a8-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1044056400_wide-7d972679c800e7852694688e7925f73479cb02a8-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1044056400_wide-7d972679c800e7852694688e7925f73479cb02a8-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1597358042,
"modified": 1597358250,
"caption": "Mark Kozelek, performing as Sun Kil Moon on Sept. 30, 2018 in Long Beach, Calif.",
"description": "Mark Kozelek, performing as Sun Kil Moon on Sept. 30, 2018 in Long Beach, Calif.",
"title": "Mark Kozelek, performing as Sun Kil Moon on Sept. 30, 2018 in Long Beach, Calif.",
"credit": "Scott Dudelson/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13878109": {
"type": "attachments",
"id": "arts_13878109",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13878109",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawaStamps.3-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawaStamps.3-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawaStamps.3-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawaStamps.3.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawaStamps.3-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawaStamps.3-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawaStamps.3-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawaStamps.3-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1585940423,
"modified": 1585943315,
"caption": "Three of the 20 stamps planned by the United States Postal Service to commemorate San Francisco-based artist Ruth Asawa.",
"description": "Three of the 20 stamps planned by the United States Postal Service to commemorate San Francisco-based artist Ruth Asawa.",
"title": "RuthAsawaStamps.3",
"credit": "USPS",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13884735": {
"type": "attachments",
"id": "arts_13884735",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13884735",
"found": true
},
"parent": 13884700,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/Slims.FB_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/Slims.FB_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/Slims.FB_.jpg",
"width": 1000,
"height": 563
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/Slims.FB_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/Slims.FB_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1597263186,
"modified": 1597263248,
"caption": "Slim's, the long-running nightclub on 11th Street in San Francisco, closed in March 2020. Owner Boz Scaggs said that the closure was planned before the COVID-19 pandemic. ",
"description": "Slim's, the long-running nightclub on 11th Street in San Francisco, closed in March 2020. Owner Boz Scaggs said that the closure was planned before the COVID-19 pandemic. ",
"title": "Slim's.FB",
"credit": "Slim's/Facebook",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13884722": {
"type": "attachments",
"id": "arts_13884722",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13884722",
"found": true
},
"parent": 13884721,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1142098509-e58c369130527aa88da8a6f7e56a79489976c7c5-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1142098509-e58c369130527aa88da8a6f7e56a79489976c7c5-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1142098509-e58c369130527aa88da8a6f7e56a79489976c7c5-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1142098509-e58c369130527aa88da8a6f7e56a79489976c7c5-scaled-e1597260337986.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1142098509-e58c369130527aa88da8a6f7e56a79489976c7c5-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1142098509-e58c369130527aa88da8a6f7e56a79489976c7c5-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1142098509-e58c369130527aa88da8a6f7e56a79489976c7c5-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1142098509-e58c369130527aa88da8a6f7e56a79489976c7c5-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1142098509-e58c369130527aa88da8a6f7e56a79489976c7c5-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-1142098509-e58c369130527aa88da8a6f7e56a79489976c7c5-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1597259898,
"modified": 1597260383,
"caption": "R. Kelly leaves the Leighton Criminal Court Building after a hearing on sexual abuse charges on May 7, 2019 in Chicago.",
"description": "R. Kelly leaves the Leighton Criminal Court Building after a hearing on sexual abuse charges on May 7, 2019 in Chicago.",
"title": "R. Kelly leaves the Leighton Criminal Court Building after a hearing on sexual abuse charges on May 7, 2019 in Chicago.",
"credit": "KAMIL KRZACZYNSKI/AFP via Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13884433": {
"type": "attachments",
"id": "arts_13884433",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13884433",
"found": true
},
"parent": 13884427,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/Berkeley_Rep_ext3_credit_courtesyofberkeleyrepertorytheatre-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/Berkeley_Rep_ext3_credit_courtesyofberkeleyrepertorytheatre-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/Berkeley_Rep_ext3_credit_courtesyofberkeleyrepertorytheatre-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/Berkeley_Rep_ext3_credit_courtesyofberkeleyrepertorytheatre.jpg",
"width": 2100,
"height": 1400
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/Berkeley_Rep_ext3_credit_courtesyofberkeleyrepertorytheatre-2048x1365.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1365
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/Berkeley_Rep_ext3_credit_courtesyofberkeleyrepertorytheatre-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/Berkeley_Rep_ext3_credit_courtesyofberkeleyrepertorytheatre-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/Berkeley_Rep_ext3_credit_courtesyofberkeleyrepertorytheatre-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/Berkeley_Rep_ext3_credit_courtesyofberkeleyrepertorytheatre-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/Berkeley_Rep_ext3_credit_courtesyofberkeleyrepertorytheatre-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1596668776,
"modified": 1596668856,
"caption": "Berkeley Repertory Theatre",
"description": "Berkeley Repertory Theatre",
"title": "Berkeley_Rep_ext3_credit_courtesyofberkeleyrepertorytheatre",
"credit": "courtesy of Berkeley Repertory Theatre",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13884396": {
"type": "attachments",
"id": "arts_13884396",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13884396",
"found": true
},
"parent": 13884392,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/brita-filter-fb-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/brita-filter-fb-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/brita-filter-fb.jpg",
"width": 960,
"height": 540
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/brita-filter-fb-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/brita-filter-fb-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1596652529,
"modified": 1596652667,
"caption": "'RuPaul's Drag Race' star Brita Filter is an ambassador of Drag Out the Vote, the organization that's partnering with the state of California to hire drag performers to share election information and staff polling places. ",
"description": "'RuPaul's Drag Race' star Brita Filter is an ambassador of Drag Out the Vote, the organization that's partnering with the state of California to hire drag performers to share election information and staff polling places. ",
"title": "brita filter fb",
"credit": "Brita Filter/Facebook",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13884219": {
"type": "attachments",
"id": "arts_13884219",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13884219",
"found": true
},
"parent": 13884216,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/1005-HistoryOfMedicineInCalifornia.0_archive_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/1005-HistoryOfMedicineInCalifornia.0_archive_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/1005-HistoryOfMedicineInCalifornia.0_archive_COVER.jpg",
"width": 800,
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/08/1005-HistoryOfMedicineInCalifornia.0_archive_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1596482174,
"modified": 1596482533,
"caption": "A detail of Bernard Zakheim's 'History of Medicine in California' at UCSF's Toland Hall, featuring Biddy Mason caring for a malaria patient.",
"description": "A detail of Bernard Zakheim's 'History of Medicine in California' at UCSF's Toland Hall, featuring Biddy Mason caring for a malaria patient.",
"title": "1005-HistoryOfMedicineInCalifornia.0_archive_COVER",
"credit": "Courtesy Living New Deal",
"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_13884928": {
"type": "authors",
"id": "byline_arts_13884928",
"meta": {
"override": true
},
"slug": "byline_arts_13884928",
"name": "Andrew Limbong",
"isLoading": false
},
"byline_arts_13884793": {
"type": "authors",
"id": "byline_arts_13884793",
"meta": {
"override": true
},
"slug": "byline_arts_13884793",
"name": "Marissa Lorusso",
"isLoading": false
},
"byline_arts_13884721": {
"type": "authors",
"id": "byline_arts_13884721",
"meta": {
"override": true
},
"slug": "byline_arts_13884721",
"name": "Anastasia Tsioulcas",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"ngluckstern": {
"type": "authors",
"id": "11497",
"meta": {
"index": "authors_1716337520",
"id": "11497",
"found": true
},
"name": "Nicole Gluckstern",
"firstName": "Nicole",
"lastName": "Gluckstern",
"slug": "ngluckstern",
"email": "gluckstern.nicole@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/2c3d593194017bfe811a998ad03140909de330b22abebf4889e1a564ce5b3495?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Nicole Gluckstern | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/2c3d593194017bfe811a998ad03140909de330b22abebf4889e1a564ce5b3495?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/2c3d593194017bfe811a998ad03140909de330b22abebf4889e1a564ce5b3495?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ngluckstern"
},
"kpatadia": {
"type": "authors",
"id": "11659",
"meta": {
"index": "authors_1716337520",
"id": "11659",
"found": true
},
"name": "Karishma Patadia",
"firstName": "Karishma",
"lastName": "Patadia",
"slug": "kpatadia",
"email": "kpatadia@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/8fc70c6ed9e8f84b84d81108f3c6403d?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Karishma Patadia | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/8fc70c6ed9e8f84b84d81108f3c6403d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/8fc70c6ed9e8f84b84d81108f3c6403d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kpatadia"
}
},
"pagesReducer": {
"arts_category_news": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"score": 10.81557
},
"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": 72
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=news",
"seeMore": false,
"paginated": true,
"page": 72
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13885046": {
"type": "posts",
"id": "arts_13885046",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13885046",
"score": null,
"sort": [
1597870906000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1597870906,
"format": "standard",
"title": "LeBron James Takes on Voter Suppression With ‘More Than a Vote’ Coalition",
"headTitle": "LeBron James Takes on Voter Suppression With ‘More Than a Vote’ Coalition | KQED",
"content": "\u003cp>LeBron James has joined forces with other athletes and celebrities to launch a campaign to fight racist voter suppression. \u003ca href=\"https://www.morethanavote.org/\" target=\"_blank\" rel=\"noopener noreferrer\">More Than a Vote\u003c/a> promises to do more than merely encourage people to cast ballots. “Yes we want you to go out and vote,” James told the \u003cem>New York Times\u003c/em>, “but we’re also going to give you the tutorial. We’re going to give you the background on how to vote and what they’re trying to do—the other side—to stop you from voting.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cSxlLTt-jUg\u003c/p>\n\u003cp>Crucially, More Than a Vote is working to raise awareness around the common misconception that being convicted of a felony means a lifetime ban from voting. In California, for example, voting rights are restored in full once a convicted person has been released from prison and successfully completed parole.\u003c/p>\n\u003cp>In Florida, convicted felons have to complete their sentences, parole periods \u003cem>and\u003c/em> pay off any outstanding fines and fees before they can cast a ballot. Last month, More Than a Vote donated $100,000 towards helping to pay off those debts, via the \u003ca href=\"https://floridarrc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Florida Rights Restoration Coalition\u003c/a>.\u003c/p>\n\u003cp>The initiative is also collaborating with other voting rights organizations, including \u003ca href=\"https://www.whenweallvote.org/\" target=\"_blank\" rel=\"noopener noreferrer\">When We All Vote\u003c/a>, which simplifies the registration process, and \u003ca href=\"https://fairfight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Fair Fight\u003c/a>, which is building “voter protection teams” and raising awareness about voting suppression tactics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003ca href=\"https://theundefeated.com/features/more-than-a-vote-a-letter-to-fans-to-fight-black-voter-suppression/\" target=\"_blank\" rel=\"noopener noreferrer\">a letter\u003c/a> published this week, the More Than a Vote collective shared specific plans to ensure that in-person voting can still take place safely and efficiently in 2020, even under the threat of COVID-19 infection. It reads in part:\u003c/p>\n\u003cblockquote>\u003cp>One solution that More Than A Vote is working on is to convert as many arenas and sports facilities as possible into voting precincts. These are large, open spaces, often in city centers, that allow for social distancing. They are also going totally unused (we should know) and should be put to use in every city that needs more space. Atlanta and Detroit led this effort. Charlotte and Sacramento are on board as well and we are working with a number of other cities that should be ready soon. We just announced Dodger Stadium as the first MLB facility. Sports venues not in use need to be converted into voting locations and we are here to help the teams and universities ready to step up.\u003c/p>\u003c/blockquote>\n\u003cp>The letter also encourages people to take the places of elderly volunteers who usually man the majority of polling stations, but are unable to this year because of their heightened risk of contracting the coronavirus. “And don’t just volunteer to work polls,” it says. “Volunteer to work in the most vulnerable communities where you are needed.” The letter was signed by 47 celebrities, including musicians Toni Braxton and Bun B, actor Kevin Hart, and sports stars like Super Bowl MVP Patrick Mahomes, Oaklanker Damian Lillard, and WNBA players Arike Ogunbowale and A’ja Wilson.\u003c/p>\n\u003cp>Talking to \u003ca href=\"https://www.youtube.com/watch?v=z7WLqeyB3e0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Good Morning America\u003c/i>\u003c/a>, another More Than a Vote member, LA Sparks’ Chiney Ogwumike said, “We are at a point in society where we need to turn activism into action. LeBron James knows that, and the best way to accomplish that is getting our community out to vote.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 560,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705020256,
"excerpt": "The coalition aims to 'energize and protect Black voters,' and assist the formerly incarcerated in getting back to the polls.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The coalition aims to 'energize and protect Black voters,' and assist the formerly incarcerated in getting back to the polls.",
"title": "LeBron James Takes on Voter Suppression With ‘More Than a Vote’ Coalition | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "LeBron James Takes on Voter Suppression With ‘More Than a Vote’ Coalition",
"datePublished": "2020-08-19T14:01:46-07:00",
"dateModified": "2024-01-11T16:44:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "lebron-james-takes-on-voter-suppression-with-more-than-a-vote-coalition",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13885046/lebron-james-takes-on-voter-suppression-with-more-than-a-vote-coalition",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>LeBron James has joined forces with other athletes and celebrities to launch a campaign to fight racist voter suppression. \u003ca href=\"https://www.morethanavote.org/\" target=\"_blank\" rel=\"noopener noreferrer\">More Than a Vote\u003c/a> promises to do more than merely encourage people to cast ballots. “Yes we want you to go out and vote,” James told the \u003cem>New York Times\u003c/em>, “but we’re also going to give you the tutorial. We’re going to give you the background on how to vote and what they’re trying to do—the other side—to stop you from voting.”\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/cSxlLTt-jUg'\n title='//www.youtube.com/embed/cSxlLTt-jUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Crucially, More Than a Vote is working to raise awareness around the common misconception that being convicted of a felony means a lifetime ban from voting. In California, for example, voting rights are restored in full once a convicted person has been released from prison and successfully completed parole.\u003c/p>\n\u003cp>In Florida, convicted felons have to complete their sentences, parole periods \u003cem>and\u003c/em> pay off any outstanding fines and fees before they can cast a ballot. Last month, More Than a Vote donated $100,000 towards helping to pay off those debts, via the \u003ca href=\"https://floridarrc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Florida Rights Restoration Coalition\u003c/a>.\u003c/p>\n\u003cp>The initiative is also collaborating with other voting rights organizations, including \u003ca href=\"https://www.whenweallvote.org/\" target=\"_blank\" rel=\"noopener noreferrer\">When We All Vote\u003c/a>, which simplifies the registration process, and \u003ca href=\"https://fairfight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Fair Fight\u003c/a>, which is building “voter protection teams” and raising awareness about voting suppression tactics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://theundefeated.com/features/more-than-a-vote-a-letter-to-fans-to-fight-black-voter-suppression/\" target=\"_blank\" rel=\"noopener noreferrer\">a letter\u003c/a> published this week, the More Than a Vote collective shared specific plans to ensure that in-person voting can still take place safely and efficiently in 2020, even under the threat of COVID-19 infection. It reads in part:\u003c/p>\n\u003cblockquote>\u003cp>One solution that More Than A Vote is working on is to convert as many arenas and sports facilities as possible into voting precincts. These are large, open spaces, often in city centers, that allow for social distancing. They are also going totally unused (we should know) and should be put to use in every city that needs more space. Atlanta and Detroit led this effort. Charlotte and Sacramento are on board as well and we are working with a number of other cities that should be ready soon. We just announced Dodger Stadium as the first MLB facility. Sports venues not in use need to be converted into voting locations and we are here to help the teams and universities ready to step up.\u003c/p>\u003c/blockquote>\n\u003cp>The letter also encourages people to take the places of elderly volunteers who usually man the majority of polling stations, but are unable to this year because of their heightened risk of contracting the coronavirus. “And don’t just volunteer to work polls,” it says. “Volunteer to work in the most vulnerable communities where you are needed.” The letter was signed by 47 celebrities, including musicians Toni Braxton and Bun B, actor Kevin Hart, and sports stars like Super Bowl MVP Patrick Mahomes, Oaklanker Damian Lillard, and WNBA players Arike Ogunbowale and A’ja Wilson.\u003c/p>\n\u003cp>Talking to \u003ca href=\"https://www.youtube.com/watch?v=z7WLqeyB3e0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Good Morning America\u003c/i>\u003c/a>, another More Than a Vote member, LA Sparks’ Chiney Ogwumike said, “We are at a point in society where we need to turn activism into action. LeBron James knows that, and the best way to accomplish that is getting our community out to vote.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13885046/lebron-james-takes-on-voter-suppression-with-more-than-a-vote-coalition",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_235"
],
"tags": [
"arts_549",
"arts_10112",
"arts_11813",
"arts_5826",
"arts_4506"
],
"featImg": "arts_13885048",
"label": "arts"
},
"arts_13885012": {
"type": "posts",
"id": "arts_13885012",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13885012",
"score": null,
"sort": [
1597857592000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1597857592,
"format": "standard",
"title": "How SF ‘Video Freaks’ Infiltrated the 1972 Democratic National Convention",
"headTitle": "How SF ‘Video Freaks’ Infiltrated the 1972 Democratic National Convention | KQED",
"content": "\u003cp>On the floor of a very different Democratic National Convention—this one in the Miami Convention Center, packed with maskless people, glad-handing everywhere—Top Value Television (TVTV) trained its video cameras on the in-between moments of a political spectacle. It was 1972, and a scrappy group of “video freaks” from San Francisco wanted to change the way television was made.\u003c/p>\n\u003cp>With 28 press passes in hand, the fledgling group shot hundreds of hours of footage at the DNC and RNC, which took place at the same venue just a month later. TVTV captured official votes and speeches, but also backroom discussions, Miami sightseeing, \u003ci>Newsweek\u003c/i> interviewing \u003ci>them\u003c/i> poolside, and, most notably, interactions with network television crews.\u003c/p>\n\u003cp>The official results of this new journalism endeavor were two hour-long, scrapbook-like documentaries, \u003cem>The World’s Largest TV Studio\u003c/em> (about the DNC) and \u003cem>Four More Years\u003c/em> (its RNC companion), initially screened on select cable channels and later available via video distribution services, or more recently, \u003ca href=\"http://www.tvtvnow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13885016\" class=\"wp-caption aligncenter\" style=\"max-width: 967px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/tvtv-crew.jpg\" alt=\"\" width=\"967\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew.jpg 967w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-768x612.jpg 768w\" sizes=\"(max-width: 967px) 100vw, 967px\">\u003cfigcaption class=\"wp-caption-text\">Approximately half the TVTV crew from the 1972 Convention tapes with the TVTV media van in Miami. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now, for the first time, the whole of that raw footage—in-between the in-between moments—will be available to the public at “\u003ca href=\"https://guerrillatv.bampfa.berkeley.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Preserving Guerrilla Television\u003c/a>” and soon, the \u003ca href=\"https://archive.org/search.php?query=creator%3A%22TVTV+%28Top+Value+Television%29%22\" rel=\"noopener noreferrer\" target=\"_blank\">Internet Archive\u003c/a>, the result of a National Endowment for Humanities grant to the Berkeley Art Museum and Pacific Film Archive. The newly digitized video captures what local archivist, filmmaker and educator \u003ca href=\"https://guerrillatv.bampfa.berkeley.edu/essays/2020-08-10_rick-prelinger-revolutionary-rectangle.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rick Prelinger calls\u003c/a> “the flavor of TVTV’s work.” The raw footage contains extended “raps” by protesters and delegates, casual interviews with people who would become political heavyweights (a young John Lewis!), and a very real sense of Americans’ thoughts and concerns during a pivotal year.\u003c/p>\n\u003cp>A grant of $220,537 allowed BAMPFA to digitize 437 analog videos related to three TVTV projects: the two convention docs and \u003cem>Gerald Ford’s America\u003c/em>, which shows the videomakers embedded in another spectacle, the first hundred days of Ford’s presidency after Nixon’s 1974 resignation. The grant also paid for scanning and photographing \u003ca href=\"https://digicoll.lib.berkeley.edu/search?ln=en&p=collection%3A%27Top+Value+Television+papers%27&f=&rm=&ln=en&sf=title&so=a&rg=100&c=Digital+Collections&of=hb&fti=0&fti=0\" target=\"_blank\" rel=\"noopener noreferrer\">thousands of pages\u003c/a> of paperwork, press clippings, scrapbooks and other TVTV ephemera.\u003c/p>\n\u003cfigure id=\"attachment_13885017\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/tvtvpostermailer_1200.jpg\" alt=\"\" width=\"1200\" height=\"826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-768x529.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A TVTV poster promoting their 1972 convention documentaries. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the culmination (in part) of a project that traces its roots back to a 2004 Ant Farm retrospective at BAMPFA, co-organized by then-video curator Steve Seid. (The Ant Farm and TVTV collectives shared members.) I specify “in part” because according to Michael Campos-Quinn, director of library special projects at BAMPFA’s Film Library and Study Center, this digitization project is “just the tip of the iceberg.” They actually have thousands of TVTV tapes, not to mention the work of other Bay Area video collectives.\u003c/p>\n\u003cp>“It’s so incredibly expensive to digitize the kind of tape that these are on,” Campos-Quinn explains. The videos are on half-inch open-reel tapes, one of the first portable videotape formats available to consumers in the late ’60s. With (relatively light) equipment like the Sony Portapak, guerrilla video groups could move nimbly through crowds, and produce media for a fraction of what the major networks spent covering the same event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was basically a game changer in terms of how people were able to document themselves and document their own reality,” Campos-Quinn says. “But the tape itself is a consumer product and it’s just fundamentally unstable. We’re at the point now where the tapes are starting to degrade past the point of being able to play them.”\u003c/p>\n\u003cp>“Long story short, we have thousands of tapes that are in dire need of transfer,” he says. Even the equipment needed to play TVTV’s tapes is super rare; BAMPFA worked with a Pennsylvania company called The MediaPreserve to digitize this collection.\u003c/p>\n\u003cfigure id=\"attachment_13885018\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/TVTV_BAMPFA_004.jpg\" alt=\"\" width=\"970\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004.jpg 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-768x594.jpg 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">TVTV interviews a tired Walter Cronkite in the aftermath of the 1972 Democratic National Convention. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knowledge of this scarcity—and this precarity—makes what is now digitized all the more engaging. When the collective disbanded in 1977, many of TVTV’s members went on to impressive careers in Hollywood, documentary filmmaking and the art world. But in the early 1970s, Michael Shamberg, Allen Rucker, Megan Williams, Chip Lord, Hudson Marquez and Doug Michels (among others) were eager 20-somethings, full of ideas about the potential of television and eager to put them to the test.\u003c/p>\n\u003cp>They believed the type of equipment they used determined, in part, the type of information they’d be able to gather. They wanted to create “special purpose media,” not mass media, and provide a space for people express their own views. And they went about their project methodically, designing \u003ca href=\"https://digicoll.lib.berkeley.edu/record/91916?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=-506%2C-224%2C5938%2C4479\" rel=\"noopener noreferrer\" target=\"_blank\">letterhead\u003c/a>, raising funds from various foundations and commercial enterprises, and selling shares when that failed. In the 1974 report \u003ci>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91927?ln=en\" target=\"_blank\" rel=\"noopener noreferrer\">Prime Time Survey\u003c/a>\u003c/i>, TVTV laid out their philosophy about opening up television, emphasizing their desire to figure things out through making, not just theorizing. “Projects are the best prophecies,” they wrote.\u003c/p>\n\u003cp>Their countercultural approach becomes most visible in the scrapbooks compiled while making \u003cem>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91910?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=313%2C677%2C6044%2C4559\" target=\"_blank\" rel=\"noopener noreferrer\">The World’s Largest TV Studio\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91911?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=-1%2C1351%2C6995%2C5277\" target=\"_blank\" rel=\"noopener noreferrer\">Four More Years\u003c/a>\u003c/em>: the group parties in their Miami rental with nitrous oxide; the male members of TVTV are often shirtless; collages lampoon Nixon and then-California governor Ronald Reagan.\u003c/p>\n\u003cfigure id=\"attachment_13885019\" class=\"wp-caption aligncenter\" style=\"max-width: 1447px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/ice-cream.jpg\" alt=\"\" width=\"1447\" height=\"1143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-768x607.jpg 768w\" sizes=\"(max-width: 1447px) 100vw, 1447px\">\u003cfigcaption class=\"wp-caption-text\">TVTV videomakers enjoy an ice cream. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Breaking what were then the rules of nonfiction television, the artists of TVTV became characters in their own documentary, annotating scenes with both hand-written notes and staged commentary. After one particularly confusing speech at the DNC by delegate Willie Brown, a TVTV member leans into the frame to ask, “Did you understand that?”\u003c/p>\n\u003cp>The fact that they weren’t part of the “straight” media certainly facilitated some interactions, even if it hindered them in others (in \u003cem>The World’s Largest TV Studio\u003c/em>, the Secret Service is deeply skeptical of their press credentials). In raw footage from the RNC, a group of Vietnam Veterans Against the War joke they won’t let a TV crew through unless their cameraman has long hair. TVTV’s very unobtrusiveness means people just keep talking—about the Women’s Movement, the Vietnam War, or the eeriness of organized groups of Young Republicans.\u003c/p>\n\u003cp>One of those candid conversations captures John Lewis (then executive director of the Voter Education Project) and civil rights activist Tom Houck (then associate director of the Youth Citizenship Fund) at the RNC. Lewis expresses sadness at the sight of young people with “no sense of independence or spontaneity” supporting “something so out of date and obsolete” as the Republican platform.\u003c/p>\n\u003cp>https://vimeo.com/445270394\u003c/p>\n\u003cp>In another clip, following a gathering of the National Women’s Political Caucus (featuring Gloria Steinem, Betty Friedan and Bella Abzug), Florynce Kennedy and Margaret Sloan-Hunter discuss the challenges facing Black feminists within the feminist movement and wider society. It sounds, unfortunately, very reminiscent of the conversations we’re still having in 2020.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://archive.org/embed/worlds-largest-studio-025_16235_PM0040800_r01of01\" width=\"800\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Campos-Quinn says he experienced the same feeling. “It’s a really wild thing to look at the footage and see how completely relevant what happened then is to today,” he says.\u003c/p>\n\u003cp>Halfway through the 2020 DNC, looking ahead to the RNC, there’s \u003ca href=\"https://www.nytimes.com/2020/06/13/us/politics/trump-lessons-nixon.html\" target=\"_blank\" rel=\"noopener noreferrer\">plenty to compare\u003c/a> between our current political circumstances and those of 1972. The media landscape has changed greatly, and yet we’re still searching for approaches to mediamaking that might achieve TVTV’s ultimate goal: entertainment that enhances awareness instead of numbing it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1360,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1705020259,
"excerpt": "Newly digitized raw footage from the guerrilla video collective TVTV unearths a treasure trove of political spectacle.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Newly digitized raw footage from the guerrilla video collective TVTV unearths a treasure trove of political spectacle.",
"title": "How SF ‘Video Freaks’ Infiltrated the 1972 Democratic National Convention | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "How SF ‘Video Freaks’ Infiltrated the 1972 Democratic National Convention",
"datePublished": "2020-08-19T10:19:52-07:00",
"dateModified": "2024-01-11T16:44:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "how-sf-video-freaks-infiltrated-the-1972-democratic-national-convention",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13885012/how-sf-video-freaks-infiltrated-the-1972-democratic-national-convention",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the floor of a very different Democratic National Convention—this one in the Miami Convention Center, packed with maskless people, glad-handing everywhere—Top Value Television (TVTV) trained its video cameras on the in-between moments of a political spectacle. It was 1972, and a scrappy group of “video freaks” from San Francisco wanted to change the way television was made.\u003c/p>\n\u003cp>With 28 press passes in hand, the fledgling group shot hundreds of hours of footage at the DNC and RNC, which took place at the same venue just a month later. TVTV captured official votes and speeches, but also backroom discussions, Miami sightseeing, \u003ci>Newsweek\u003c/i> interviewing \u003ci>them\u003c/i> poolside, and, most notably, interactions with network television crews.\u003c/p>\n\u003cp>The official results of this new journalism endeavor were two hour-long, scrapbook-like documentaries, \u003cem>The World’s Largest TV Studio\u003c/em> (about the DNC) and \u003cem>Four More Years\u003c/em> (its RNC companion), initially screened on select cable channels and later available via video distribution services, or more recently, \u003ca href=\"http://www.tvtvnow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13885016\" class=\"wp-caption aligncenter\" style=\"max-width: 967px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/tvtv-crew.jpg\" alt=\"\" width=\"967\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew.jpg 967w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-768x612.jpg 768w\" sizes=\"(max-width: 967px) 100vw, 967px\">\u003cfigcaption class=\"wp-caption-text\">Approximately half the TVTV crew from the 1972 Convention tapes with the TVTV media van in Miami. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now, for the first time, the whole of that raw footage—in-between the in-between moments—will be available to the public at “\u003ca href=\"https://guerrillatv.bampfa.berkeley.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Preserving Guerrilla Television\u003c/a>” and soon, the \u003ca href=\"https://archive.org/search.php?query=creator%3A%22TVTV+%28Top+Value+Television%29%22\" rel=\"noopener noreferrer\" target=\"_blank\">Internet Archive\u003c/a>, the result of a National Endowment for Humanities grant to the Berkeley Art Museum and Pacific Film Archive. The newly digitized video captures what local archivist, filmmaker and educator \u003ca href=\"https://guerrillatv.bampfa.berkeley.edu/essays/2020-08-10_rick-prelinger-revolutionary-rectangle.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rick Prelinger calls\u003c/a> “the flavor of TVTV’s work.” The raw footage contains extended “raps” by protesters and delegates, casual interviews with people who would become political heavyweights (a young John Lewis!), and a very real sense of Americans’ thoughts and concerns during a pivotal year.\u003c/p>\n\u003cp>A grant of $220,537 allowed BAMPFA to digitize 437 analog videos related to three TVTV projects: the two convention docs and \u003cem>Gerald Ford’s America\u003c/em>, which shows the videomakers embedded in another spectacle, the first hundred days of Ford’s presidency after Nixon’s 1974 resignation. The grant also paid for scanning and photographing \u003ca href=\"https://digicoll.lib.berkeley.edu/search?ln=en&p=collection%3A%27Top+Value+Television+papers%27&f=&rm=&ln=en&sf=title&so=a&rg=100&c=Digital+Collections&of=hb&fti=0&fti=0\" target=\"_blank\" rel=\"noopener noreferrer\">thousands of pages\u003c/a> of paperwork, press clippings, scrapbooks and other TVTV ephemera.\u003c/p>\n\u003cfigure id=\"attachment_13885017\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/tvtvpostermailer_1200.jpg\" alt=\"\" width=\"1200\" height=\"826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-768x529.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A TVTV poster promoting their 1972 convention documentaries. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the culmination (in part) of a project that traces its roots back to a 2004 Ant Farm retrospective at BAMPFA, co-organized by then-video curator Steve Seid. (The Ant Farm and TVTV collectives shared members.) I specify “in part” because according to Michael Campos-Quinn, director of library special projects at BAMPFA’s Film Library and Study Center, this digitization project is “just the tip of the iceberg.” They actually have thousands of TVTV tapes, not to mention the work of other Bay Area video collectives.\u003c/p>\n\u003cp>“It’s so incredibly expensive to digitize the kind of tape that these are on,” Campos-Quinn explains. The videos are on half-inch open-reel tapes, one of the first portable videotape formats available to consumers in the late ’60s. With (relatively light) equipment like the Sony Portapak, guerrilla video groups could move nimbly through crowds, and produce media for a fraction of what the major networks spent covering the same event.\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>“It was basically a game changer in terms of how people were able to document themselves and document their own reality,” Campos-Quinn says. “But the tape itself is a consumer product and it’s just fundamentally unstable. We’re at the point now where the tapes are starting to degrade past the point of being able to play them.”\u003c/p>\n\u003cp>“Long story short, we have thousands of tapes that are in dire need of transfer,” he says. Even the equipment needed to play TVTV’s tapes is super rare; BAMPFA worked with a Pennsylvania company called The MediaPreserve to digitize this collection.\u003c/p>\n\u003cfigure id=\"attachment_13885018\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/TVTV_BAMPFA_004.jpg\" alt=\"\" width=\"970\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004.jpg 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-768x594.jpg 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">TVTV interviews a tired Walter Cronkite in the aftermath of the 1972 Democratic National Convention. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knowledge of this scarcity—and this precarity—makes what is now digitized all the more engaging. When the collective disbanded in 1977, many of TVTV’s members went on to impressive careers in Hollywood, documentary filmmaking and the art world. But in the early 1970s, Michael Shamberg, Allen Rucker, Megan Williams, Chip Lord, Hudson Marquez and Doug Michels (among others) were eager 20-somethings, full of ideas about the potential of television and eager to put them to the test.\u003c/p>\n\u003cp>They believed the type of equipment they used determined, in part, the type of information they’d be able to gather. They wanted to create “special purpose media,” not mass media, and provide a space for people express their own views. And they went about their project methodically, designing \u003ca href=\"https://digicoll.lib.berkeley.edu/record/91916?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=-506%2C-224%2C5938%2C4479\" rel=\"noopener noreferrer\" target=\"_blank\">letterhead\u003c/a>, raising funds from various foundations and commercial enterprises, and selling shares when that failed. In the 1974 report \u003ci>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91927?ln=en\" target=\"_blank\" rel=\"noopener noreferrer\">Prime Time Survey\u003c/a>\u003c/i>, TVTV laid out their philosophy about opening up television, emphasizing their desire to figure things out through making, not just theorizing. “Projects are the best prophecies,” they wrote.\u003c/p>\n\u003cp>Their countercultural approach becomes most visible in the scrapbooks compiled while making \u003cem>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91910?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=313%2C677%2C6044%2C4559\" target=\"_blank\" rel=\"noopener noreferrer\">The World’s Largest TV Studio\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91911?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=-1%2C1351%2C6995%2C5277\" target=\"_blank\" rel=\"noopener noreferrer\">Four More Years\u003c/a>\u003c/em>: the group parties in their Miami rental with nitrous oxide; the male members of TVTV are often shirtless; collages lampoon Nixon and then-California governor Ronald Reagan.\u003c/p>\n\u003cfigure id=\"attachment_13885019\" class=\"wp-caption aligncenter\" style=\"max-width: 1447px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/ice-cream.jpg\" alt=\"\" width=\"1447\" height=\"1143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-768x607.jpg 768w\" sizes=\"(max-width: 1447px) 100vw, 1447px\">\u003cfigcaption class=\"wp-caption-text\">TVTV videomakers enjoy an ice cream. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Breaking what were then the rules of nonfiction television, the artists of TVTV became characters in their own documentary, annotating scenes with both hand-written notes and staged commentary. After one particularly confusing speech at the DNC by delegate Willie Brown, a TVTV member leans into the frame to ask, “Did you understand that?”\u003c/p>\n\u003cp>The fact that they weren’t part of the “straight” media certainly facilitated some interactions, even if it hindered them in others (in \u003cem>The World’s Largest TV Studio\u003c/em>, the Secret Service is deeply skeptical of their press credentials). In raw footage from the RNC, a group of Vietnam Veterans Against the War joke they won’t let a TV crew through unless their cameraman has long hair. TVTV’s very unobtrusiveness means people just keep talking—about the Women’s Movement, the Vietnam War, or the eeriness of organized groups of Young Republicans.\u003c/p>\n\u003cp>One of those candid conversations captures John Lewis (then executive director of the Voter Education Project) and civil rights activist Tom Houck (then associate director of the Youth Citizenship Fund) at the RNC. Lewis expresses sadness at the sight of young people with “no sense of independence or spontaneity” supporting “something so out of date and obsolete” as the Republican platform.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "vimeoLink",
"attributes": {
"named": {
"vimeoId": "445270394"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In another clip, following a gathering of the National Women’s Political Caucus (featuring Gloria Steinem, Betty Friedan and Bella Abzug), Florynce Kennedy and Margaret Sloan-Hunter discuss the challenges facing Black feminists within the feminist movement and wider society. It sounds, unfortunately, very reminiscent of the conversations we’re still having in 2020.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://archive.org/embed/worlds-largest-studio-025_16235_PM0040800_r01of01\" width=\"800\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Campos-Quinn says he experienced the same feeling. “It’s a really wild thing to look at the footage and see how completely relevant what happened then is to today,” he says.\u003c/p>\n\u003cp>Halfway through the 2020 DNC, looking ahead to the RNC, there’s \u003ca href=\"https://www.nytimes.com/2020/06/13/us/politics/trump-lessons-nixon.html\" target=\"_blank\" rel=\"noopener noreferrer\">plenty to compare\u003c/a> between our current political circumstances and those of 1972. The media landscape has changed greatly, and yet we’re still searching for approaches to mediamaking that might achieve TVTV’s ultimate goal: entertainment that enhances awareness instead of numbing it.\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13885012/how-sf-video-freaks-infiltrated-the-1972-democratic-national-convention",
"authors": [
"61"
],
"categories": [
"arts_1",
"arts_74",
"arts_235"
],
"tags": [
"arts_2227",
"arts_10342",
"arts_10278",
"arts_2792"
],
"featImg": "arts_13885015",
"label": "arts"
},
"arts_13883630": {
"type": "posts",
"id": "arts_13883630",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13883630",
"score": null,
"sort": [
1597759086000
]
},
"guestAuthors": [],
"slug": "the-suffrage-and-civil-rights-organizer-who-guided-women-to-the-polls",
"title": "The Black Suffragist and Civil Rights Organizer Who Guided Women to the Polls",
"publishDate": 1597759086,
"format": "standard",
"headTitle": "The Black Suffragist and Civil Rights Organizer Who Guided Women to the Polls | KQED",
"labelTerm": {},
"content": "\u003cp>[dropcap]T[/dropcap]he schism was glaring. In 1915, San Francisco’s Panama-Pacific International Exposition heralded itself as a showcase of modernity and progress. But for the duration of its nearly yearlong run, the world’s fair sold tickets to games and presentations so blatantly racist they sparked a Black-led demonstration that reverberated across the Bay area.\u003c/p>\n\u003cp>In the amusement section of the fair—known as the Joy Zone—booths like \u003ca href=\"http://davegilson.com/african-dip.html\" target=\"_blank\" rel=\"noopener noreferrer\">The African Dip\u003c/a>, \u003ca href=\"http://davegilson.com/african-dip.html\" target=\"_blank\" rel=\"noopener noreferrer\">Soa Kum\u003c/a> and \u003ca href=\"https://link.springer.com/article/10.1007/s12138-019-00531-5\" target=\"_blank\" rel=\"noopener noreferrer\">Dixieland\u003c/a> used enormous racist effigies on their exteriors to attract visitors. The Dixieland booth even peddled old lies about “the antebellum days in the South,” when “the slaves were about the happiest and carefree beings on earth.” Nearby, in the Palace of Food Products, at the Sperry Flour Booth, Black women sold pancakes while dressed in full “mammy” attire.\u003c/p>\n\u003cp>[aside postid='arts_13881675']After four months of witnessing these displays, Black communities from around the Bay Area converged on San Francisco’s Ferry Building and formed a parade. The turnout was enormous; the \u003cem>Oakland Sunshine\u003c/em> reported, “Everybody shut up shop and [got] themselves across the channel.” A jubilant demonstration of flower-covered floats, choirs, flag-waving schoolchildren, streetcars full of Black women’s clubs and everyday workers moved down Market Street and, at Van Ness, entered the Joy Zone. The parade then proudly marched across the entire fair.\u003c/p>\n\u003cp>This was Alameda County Day: an event intricately organized not just to dispel the stereotypes on show at the fair, but to illustrate Black people’s contributions to the city, county and state. Leaving race out of the event’s title was a very specific decision—organizers had scrapped plans for a “Negro Day” just months earlier. Participants had no interest in being tokenized. This wasn’t merely about skin tone; it was a demand to be seen and treated as fellow, equal citizens.\u003c/p>\n\u003cp>At the time, the \u003cem>San Francisco Chronicle\u003c/em> called the event “a revelation.” Journalist \u003ca href=\"https://www.kqed.org/pop/102326/rebel-girls-from-bay-area-history-delilah-l-beasley-pioneering-journalist\" target=\"_blank\" rel=\"noopener noreferrer\">Delilah L. Beasley\u003c/a> wrote in the \u003cem>Oakland Sunshine\u003c/em>: “The mere fact that colored children marched through the streets of San Francisco, carrying the Stars and Stripes, showed a decided advance and change of feeling toward the colored race in these parts.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The chairman of the committee that organized Alameda County Day wasn’t a man at all. She was a Black woman by the name of Myra Virginia Simmons. Her day jobs might have been decidedly low-key—the 35-year-old Oakland resident sold newspapers and worked as a domestic cook. But, to women and people of color around the Bay Area, she was a formidable campaigner and community leader.\u003c/p>\n\u003cfigure id=\"attachment_13884866\" class=\"wp-caption alignnone\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM.png\" alt=\"A postcard commemorating the Panama–Pacific International Exposition. Its nickname, Jewel City, was the invention of a young girl named Virginia Stephens who had won a competition held by PPIE officials, to name the fair. Only when she participated in Alameda County Day did they find out she was Black.\" width=\"522\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM.png 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM-160x104.png 160w\" sizes=\"auto, (max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">A postcard commemorating the Panama–Pacific International Exposition. Its nickname, Jewel City, was the invention of a young girl named Virginia Stephens who had won a competition held by PPIE officials, to name the fair. Only when she participated in Alameda County Day did they find out she was Black.\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]S[/dropcap]immons had already served in an impressive number of capacities by the time Alameda County Day occurred on June 10, 1915. She was chair of the Women’s Civic and Progressive League in Oakland; president of the Colored American Equal Suffrage League; a sometimes speaker before the Woman’s Christian Temperance Union; a leader of the Alameda County Colored Americans; and president of the Civic Center Auxiliary, a Black women’s club.\u003c/p>\n\u003cp>[aside postid='pop_102326']Prior to Alameda County Day, the Civic Center Auxiliary had also taken the lead in a large protest against the conditions in San Quentin for inmates of color. Later it led protests alongside the NAACP against the glorification of the KKK and vilification of Black men in the 1916 movie \u003cem>The Birth of a Nation\u003c/em>. But the majority of Simmons’ activist energy was spent on gaining voting rights for women.\u003c/p>\n\u003cp>After California women narrowly earned the right to vote in 1911—by a margin of just \u003ca href=\"https://www.sos.ca.gov/elections/celebrating-womens-suffrage/california-women-suffrage-centennial/\" target=\"_blank\" rel=\"noopener noreferrer\">3,587 votes\u003c/a>—Simmons only worked harder. A Nov. 23, 1911 edition of the \u003cem>San Francisco Call\u003c/em> newspaper reported that she was actively educating women about their voting rights and encouraging them to be politically active. She even went on to serve as a \u003ca href=\"https://elenorrooseveltdemocrats.org/?page_id=299\" target=\"_blank\" rel=\"noopener noreferrer\">precinct captain\u003c/a> during the first California election open to women.\u003c/p>\n\u003cp>The national battle for women’s suffrage, however, was still to be won, and women’s clubs were of vital importance, both socially and politically, in achieving this. Black women’s clubs, like Simmons’ Civic Center Auxiliary, and Oakland’s Fannie Jackson Coppin Club (named after the first Black woman to become a school principal) were focused on both civil and voting rights. Other women’s clubs, like San Francisco’s Votes For Women (led by the Pacific coast’s first female lawyer, \u003ca href=\"https://www.kqed.org/arts/13863165/the-wests-first-lady-lawyer-opened-doors-for-women-in-law\" target=\"_blank\" rel=\"noopener noreferrer\">Clara Shortridge Foltz\u003c/a>) were more singular in their focus. San Jose’s interracial Suffrage Amendment League was one of several examples of women working together across racial boundaries.\u003c/p>\n\u003cp>The passage of the 19th Amendment in 1920 was made possible by the dogged work of these women’s organizational and outreach efforts. Simmons herself was such an active campaigner that her name regularly showed up in newspapers around the Bay, as she led high-profile planning meetings with her peers. (On just one page of the March 29, 1915 issue of the \u003cem>Oakland Sunshine\u003c/em>, she is mentioned in \u003ca href=\"https://texashistory.unt.edu/ark:/67531/metapth523614/m1/3/?q=Myra%20Virginia%20Simmons\" target=\"_blank\" rel=\"noopener noreferrer\">three separate stories\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13892514']Many thousands of women fought for suffrage in the first decades of the 20th century, but Simmons went above and beyond; she was a natural born leader for whom no civic challenge was too great. She spent much of her later life in San Francisco, and lived to see the passage of 1964’s Civil Rights Act.\u003c/p>\n\u003cp>Myra Virginia Simmons died one year later at the age of 84. As is so often the case with suffragists of the period, photos of her remain elusive. Yet it seems highly likely she would have been present for the Oakland gathering of the California Federation of Colored Women’s Clubs in July 1915, as pictured at the top of this article. Though we cannot know which woman she is in the photo, in many ways she is all of them: determined, proud and poised to make a change.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Myra Virginia Simmons' tireless organizing helped gain California women—and eventually all American women—the right to vote.",
"status": "publish",
"parent": 0,
"modified": 1769720670,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 1123
},
"headData": {
"title": "The Black Suffragist and Civil Rights Organizer Who Guided Women to the Polls | KQED",
"description": "Myra Virginia Simmons' tireless organizing helped gain California women—and eventually all American women—the right to vote.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Black Suffragist and Civil Rights Organizer Who Guided Women to the Polls",
"datePublished": "2020-08-18T06:58:06-07:00",
"dateModified": "2026-01-29T13:04:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 7862,
"slug": "history",
"name": "History"
},
"source": "Rebel Girls",
"sourceUrl": "https://www.kqed.org/rebelgirls",
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/8e8de253-d41a-4d4e-8090-ac6f01468d47/audio.mp3",
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13883630/the-suffrage-and-civil-rights-organizer-who-guided-women-to-the-polls",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he schism was glaring. In 1915, San Francisco’s Panama-Pacific International Exposition heralded itself as a showcase of modernity and progress. But for the duration of its nearly yearlong run, the world’s fair sold tickets to games and presentations so blatantly racist they sparked a Black-led demonstration that reverberated across the Bay area.\u003c/p>\n\u003cp>In the amusement section of the fair—known as the Joy Zone—booths like \u003ca href=\"http://davegilson.com/african-dip.html\" target=\"_blank\" rel=\"noopener noreferrer\">The African Dip\u003c/a>, \u003ca href=\"http://davegilson.com/african-dip.html\" target=\"_blank\" rel=\"noopener noreferrer\">Soa Kum\u003c/a> and \u003ca href=\"https://link.springer.com/article/10.1007/s12138-019-00531-5\" target=\"_blank\" rel=\"noopener noreferrer\">Dixieland\u003c/a> used enormous racist effigies on their exteriors to attract visitors. The Dixieland booth even peddled old lies about “the antebellum days in the South,” when “the slaves were about the happiest and carefree beings on earth.” Nearby, in the Palace of Food Products, at the Sperry Flour Booth, Black women sold pancakes while dressed in full “mammy” attire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13881675",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>After four months of witnessing these displays, Black communities from around the Bay Area converged on San Francisco’s Ferry Building and formed a parade. The turnout was enormous; the \u003cem>Oakland Sunshine\u003c/em> reported, “Everybody shut up shop and [got] themselves across the channel.” A jubilant demonstration of flower-covered floats, choirs, flag-waving schoolchildren, streetcars full of Black women’s clubs and everyday workers moved down Market Street and, at Van Ness, entered the Joy Zone. The parade then proudly marched across the entire fair.\u003c/p>\n\u003cp>This was Alameda County Day: an event intricately organized not just to dispel the stereotypes on show at the fair, but to illustrate Black people’s contributions to the city, county and state. Leaving race out of the event’s title was a very specific decision—organizers had scrapped plans for a “Negro Day” just months earlier. Participants had no interest in being tokenized. This wasn’t merely about skin tone; it was a demand to be seen and treated as fellow, equal citizens.\u003c/p>\n\u003cp>At the time, the \u003cem>San Francisco Chronicle\u003c/em> called the event “a revelation.” Journalist \u003ca href=\"https://www.kqed.org/pop/102326/rebel-girls-from-bay-area-history-delilah-l-beasley-pioneering-journalist\" target=\"_blank\" rel=\"noopener noreferrer\">Delilah L. Beasley\u003c/a> wrote in the \u003cem>Oakland Sunshine\u003c/em>: “The mere fact that colored children marched through the streets of San Francisco, carrying the Stars and Stripes, showed a decided advance and change of feeling toward the colored race in these parts.”\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 chairman of the committee that organized Alameda County Day wasn’t a man at all. She was a Black woman by the name of Myra Virginia Simmons. Her day jobs might have been decidedly low-key—the 35-year-old Oakland resident sold newspapers and worked as a domestic cook. But, to women and people of color around the Bay Area, she was a formidable campaigner and community leader.\u003c/p>\n\u003cfigure id=\"attachment_13884866\" class=\"wp-caption alignnone\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM.png\" alt=\"A postcard commemorating the Panama–Pacific International Exposition. Its nickname, Jewel City, was the invention of a young girl named Virginia Stephens who had won a competition held by PPIE officials, to name the fair. Only when she participated in Alameda County Day did they find out she was Black.\" width=\"522\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM.png 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM-160x104.png 160w\" sizes=\"auto, (max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">A postcard commemorating the Panama–Pacific International Exposition. Its nickname, Jewel City, was the invention of a young girl named Virginia Stephens who had won a competition held by PPIE officials, to name the fair. Only when she participated in Alameda County Day did they find out she was Black.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>immons had already served in an impressive number of capacities by the time Alameda County Day occurred on June 10, 1915. She was chair of the Women’s Civic and Progressive League in Oakland; president of the Colored American Equal Suffrage League; a sometimes speaker before the Woman’s Christian Temperance Union; a leader of the Alameda County Colored Americans; and president of the Civic Center Auxiliary, a Black women’s club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_102326",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Prior to Alameda County Day, the Civic Center Auxiliary had also taken the lead in a large protest against the conditions in San Quentin for inmates of color. Later it led protests alongside the NAACP against the glorification of the KKK and vilification of Black men in the 1916 movie \u003cem>The Birth of a Nation\u003c/em>. But the majority of Simmons’ activist energy was spent on gaining voting rights for women.\u003c/p>\n\u003cp>After California women narrowly earned the right to vote in 1911—by a margin of just \u003ca href=\"https://www.sos.ca.gov/elections/celebrating-womens-suffrage/california-women-suffrage-centennial/\" target=\"_blank\" rel=\"noopener noreferrer\">3,587 votes\u003c/a>—Simmons only worked harder. A Nov. 23, 1911 edition of the \u003cem>San Francisco Call\u003c/em> newspaper reported that she was actively educating women about their voting rights and encouraging them to be politically active. She even went on to serve as a \u003ca href=\"https://elenorrooseveltdemocrats.org/?page_id=299\" target=\"_blank\" rel=\"noopener noreferrer\">precinct captain\u003c/a> during the first California election open to women.\u003c/p>\n\u003cp>The national battle for women’s suffrage, however, was still to be won, and women’s clubs were of vital importance, both socially and politically, in achieving this. Black women’s clubs, like Simmons’ Civic Center Auxiliary, and Oakland’s Fannie Jackson Coppin Club (named after the first Black woman to become a school principal) were focused on both civil and voting rights. Other women’s clubs, like San Francisco’s Votes For Women (led by the Pacific coast’s first female lawyer, \u003ca href=\"https://www.kqed.org/arts/13863165/the-wests-first-lady-lawyer-opened-doors-for-women-in-law\" target=\"_blank\" rel=\"noopener noreferrer\">Clara Shortridge Foltz\u003c/a>) were more singular in their focus. San Jose’s interracial Suffrage Amendment League was one of several examples of women working together across racial boundaries.\u003c/p>\n\u003cp>The passage of the 19th Amendment in 1920 was made possible by the dogged work of these women’s organizational and outreach efforts. Simmons herself was such an active campaigner that her name regularly showed up in newspapers around the Bay, as she led high-profile planning meetings with her peers. (On just one page of the March 29, 1915 issue of the \u003cem>Oakland Sunshine\u003c/em>, she is mentioned in \u003ca href=\"https://texashistory.unt.edu/ark:/67531/metapth523614/m1/3/?q=Myra%20Virginia%20Simmons\" target=\"_blank\" rel=\"noopener noreferrer\">three separate stories\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13892514",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Many thousands of women fought for suffrage in the first decades of the 20th century, but Simmons went above and beyond; she was a natural born leader for whom no civic challenge was too great. She spent much of her later life in San Francisco, and lived to see the passage of 1964’s Civil Rights Act.\u003c/p>\n\u003cp>Myra Virginia Simmons died one year later at the age of 84. As is so often the case with suffragists of the period, photos of her remain elusive. Yet it seems highly likely she would have been present for the Oakland gathering of the California Federation of Colored Women’s Clubs in July 1915, as pictured at the top of this article. Though we cannot know which woman she is in the photo, in many ways she is all of them: determined, proud and poised to make a change.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13883630/the-suffrage-and-civil-rights-organizer-who-guided-women-to-the-polls",
"authors": [
"11242"
],
"series": [
"arts_22303"
],
"categories": [
"arts_1",
"arts_7862",
"arts_235"
],
"tags": [
"arts_1962",
"arts_746",
"arts_1143",
"arts_5826",
"arts_21841",
"arts_11735"
],
"featImg": "arts_13884912",
"label": "source_arts_13883630"
},
"arts_13884928": {
"type": "posts",
"id": "arts_13884928",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13884928",
"score": null,
"sort": [
1597708300000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1597708300,
"format": "standard",
"title": "Two Men Charged in Cold Case Murder of Jam Master Jay",
"headTitle": "Two Men Charged in Cold Case Murder of Jam Master Jay | KQED",
"content": "\u003cp>Federal prosecutors Monday announced charges against two men alleged with killing Jason Mizell, better known as Jam Master Jay—the DJ for the seminal rap group Run-DMC. Mizell was shot inside a recording studio in 2002.\u003c/p>\n\u003cp>At a press conference, Seth DuCharme, the acting U.S. Attorney for the Eastern District of New York, named Karl Jordan Jr. and Ronald Washington as the alleged murderers. DuCharme didn’t go into detail about what led to the charges, but said, “Today we begin to answer that question, who killed Jason Mizell and why.”\u003c/p>\n\u003cp>According to newly filed court documents, the alleged murder was over a drug deal. Prosecutors say that Mizell was involved in trafficking cocaine across state lines, and that he had 10 kilograms of cocaine that Washington was supposed to sell in Maryland. Mizell then told Washington that he was being cut from the deal, which led to Washington and Jordan conspiring to kill him as retaliation. The two then allegedly entered the studio the night of the murder and “ultimately executed Mizell.”\u003c/p>\n\u003cp>As Jam Master Jay, Mizell was known as the backbone of Run-DMC, a group that was instrumental in bringing rap and hip hop into mainstream culture. Their third album, \u003cem>Raising Hell\u003c/em> (which featured hits like “It’s Tricky,” “My Adidas,” and “Walk This Way”), was the first rap album to go platinum, eventually reaching triple platinum status. Mizell also founded his own record label—JMJ Records—known for discovering such artists as Onyx and 50 Cent.\u003c/p>\n\u003cp>Mizell’s murder received on-and-off attention from authorities as well as \u003ca href=\"http://www.mtv.com/news/1576088/jam-master-jays-murder-a-timeline-and-the-key-players/\" target=\"_blank\" rel=\"noopener noreferrer\">the media\u003c/a>. The case was the center of a 2018 episode of the \u003ca href=\"https://www.youtube.com/watch?v=718bAMt_Qrk\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix documentary series \u003cem>ReMastered\u003c/em>,\u003c/a> that looked at not just the loose threads in the murder case but the lack of urgency from law enforcement in solving the killing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If charged, both Jordan and Washington face at least a 20 year prison sentence. Washington is currently serving time for robbery.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Two+Men+Charged+in+Cold+Case+Murder+of+Jam+Master+Jay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 353,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705020271,
"excerpt": "Prosecutors announced the charges Monday, nearly two decades after the Run-DMC DJ was shot and killed in New York.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Prosecutors announced the charges Monday, nearly two decades after the Run-DMC DJ was shot and killed in New York.",
"title": "Two Men Charged in Cold Case Murder of Jam Master Jay | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Two Men Charged in Cold Case Murder of Jam Master Jay",
"datePublished": "2020-08-17T16:51:40-07:00",
"dateModified": "2024-01-11T16:44:31-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "two-men-charged-in-cold-case-murder-of-jam-master-jay",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=903335189&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 17 Aug 2020 19:38:10 -0400",
"nprLastModifiedDate": "Mon, 17 Aug 2020 19:38:10 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/08/17/903335189/two-men-charged-in-cold-case-murder-of-jam-master-jay?ft=nprml&f=903335189",
"nprImageAgency": "Getty Images",
"nprStoryId": "903335189",
"nprByline": "Andrew Limbong",
"sticky": false,
"nprImageCredit": "Vince Bucci",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 17 Aug 2020 19:38:00 -0400",
"path": "/arts/13884928/two-men-charged-in-cold-case-murder-of-jam-master-jay",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Federal prosecutors Monday announced charges against two men alleged with killing Jason Mizell, better known as Jam Master Jay—the DJ for the seminal rap group Run-DMC. Mizell was shot inside a recording studio in 2002.\u003c/p>\n\u003cp>At a press conference, Seth DuCharme, the acting U.S. Attorney for the Eastern District of New York, named Karl Jordan Jr. and Ronald Washington as the alleged murderers. DuCharme didn’t go into detail about what led to the charges, but said, “Today we begin to answer that question, who killed Jason Mizell and why.”\u003c/p>\n\u003cp>According to newly filed court documents, the alleged murder was over a drug deal. Prosecutors say that Mizell was involved in trafficking cocaine across state lines, and that he had 10 kilograms of cocaine that Washington was supposed to sell in Maryland. Mizell then told Washington that he was being cut from the deal, which led to Washington and Jordan conspiring to kill him as retaliation. The two then allegedly entered the studio the night of the murder and “ultimately executed Mizell.”\u003c/p>\n\u003cp>As Jam Master Jay, Mizell was known as the backbone of Run-DMC, a group that was instrumental in bringing rap and hip hop into mainstream culture. Their third album, \u003cem>Raising Hell\u003c/em> (which featured hits like “It’s Tricky,” “My Adidas,” and “Walk This Way”), was the first rap album to go platinum, eventually reaching triple platinum status. Mizell also founded his own record label—JMJ Records—known for discovering such artists as Onyx and 50 Cent.\u003c/p>\n\u003cp>Mizell’s murder received on-and-off attention from authorities as well as \u003ca href=\"http://www.mtv.com/news/1576088/jam-master-jays-murder-a-timeline-and-the-key-players/\" target=\"_blank\" rel=\"noopener noreferrer\">the media\u003c/a>. The case was the center of a 2018 episode of the \u003ca href=\"https://www.youtube.com/watch?v=718bAMt_Qrk\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix documentary series \u003cem>ReMastered\u003c/em>,\u003c/a> that looked at not just the loose threads in the murder case but the lack of urgency from law enforcement in solving the killing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If charged, both Jordan and Washington face at least a 20 year prison sentence. Washington is currently serving time for robbery.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Two+Men+Charged+in+Cold+Case+Murder+of+Jam+Master+Jay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13884928/two-men-charged-in-cold-case-murder-of-jam-master-jay",
"authors": [
"byline_arts_13884928"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_831"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13884929",
"label": "arts_137"
},
"arts_13884863": {
"type": "posts",
"id": "arts_13884863",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13884863",
"score": null,
"sort": [
1597445375000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1597445375,
"format": "standard",
"title": "CAAM Offers Emergency Grants for Asian American Filmmakers",
"headTitle": "CAAM Offers Emergency Grants for Asian American Filmmakers | KQED",
"content": "\u003cp>No industry remains untouched by the economic impact of the coronavirus pandemic, and independent filmmakers, already in a precarious financial state, are no exception. Film festivals have been canceled or rerouted into streaming events; releases have been delayed; the gatherings that allow filmmakers to share ideas, resources and enthusiasm for each others’ projects are all suspended for the foreseeable future. (Will we really be flying to Park City in January 2021?) \u003c/p>\n\u003cp>[aside postID='arts_13884767']And like many industries forced to fill gaps in government spending on health care and coronavirus-related relief funds, the filmmaking community has had to step up to ensure its members can weather this global health crisis and emerge with stories to tell (and the means to do so). \u003c/p>\n\u003cp>To that end, the Center for Asian American Media, with support from the Sundance Institute, is awarding as many as \u003ca href=\"https://caamedia.org/blog/2020/08/13/caam-to-offer-emergency-grants-for-filmmakers-from-the-sundance-institute/?utm_source=MadMimi&utm_medium=email&utm_content=Apply+for+Emergency+Grants+for+Filmmakers+Made+Possible+by+Sundance+Institute&utm_campaign=20200814_m159625399_Apply+for+Emergency+Grants+For+Filmmakers+Made+Possible+By+Sundance+Institute&utm_term=here\" rel=\"noopener noreferrer\" target=\"_blank\">15 emergency grants of up to $1,000 each\u003c/a> to Asian American filmmakers with demonstrated financial needs as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>The funds come from the $1 million \u003ca href=\"https://www.sundance.org/covid19\" rel=\"noopener noreferrer\" target=\"_blank\">Sundance Institute Respond and Reimagine Plan\u003c/a>, which awarded grants directly to artists, as well as through \u003ca href=\"https://www.artistrelief.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Artist Relief\u003c/a>, and selected organizations to redistribute a remaining $405,000 to artists from historically marginalized communities. Sundance picked 39 grantees across the world, including local media orgs CAAM and Frameline.\u003c/p>\n\u003cp>Applicants for the CAAM emergency grants, among other requirements, must identify as Asian American; cannot be current students; must be directors, producers, cinematographers or editors experiencing dire financial emergencies due to the pandemic; and must have completed at least “one nonfiction film or interactive media project that was publicly exhibited in a curated and/or noncommercial environment.” \u003c/p>\n\u003cp>Applications are due by Monday, Aug. 31. \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSd8SRRSdwVwmJa9_0l_CtalDp1w7bYQKSr2SCeeLjqaZjXTEg/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 288,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705020277,
"excerpt": "The nonprofit will distribute 15 grants of up to $1,000 each to Asian American film professionals in need.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The nonprofit will distribute 15 grants of up to $1,000 each to Asian American film professionals in need.",
"title": "CAAM Offers Emergency Grants for Asian American Filmmakers | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "CAAM Offers Emergency Grants for Asian American Filmmakers",
"datePublished": "2020-08-14T15:49:35-07:00",
"dateModified": "2024-01-11T16:44:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "caam-offers-emergency-grants-for-asian-american-filmmakers",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13884863/caam-offers-emergency-grants-for-asian-american-filmmakers",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No industry remains untouched by the economic impact of the coronavirus pandemic, and independent filmmakers, already in a precarious financial state, are no exception. Film festivals have been canceled or rerouted into streaming events; releases have been delayed; the gatherings that allow filmmakers to share ideas, resources and enthusiasm for each others’ projects are all suspended for the foreseeable future. (Will we really be flying to Park City in January 2021?) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13884767",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>And like many industries forced to fill gaps in government spending on health care and coronavirus-related relief funds, the filmmaking community has had to step up to ensure its members can weather this global health crisis and emerge with stories to tell (and the means to do so). \u003c/p>\n\u003cp>To that end, the Center for Asian American Media, with support from the Sundance Institute, is awarding as many as \u003ca href=\"https://caamedia.org/blog/2020/08/13/caam-to-offer-emergency-grants-for-filmmakers-from-the-sundance-institute/?utm_source=MadMimi&utm_medium=email&utm_content=Apply+for+Emergency+Grants+for+Filmmakers+Made+Possible+by+Sundance+Institute&utm_campaign=20200814_m159625399_Apply+for+Emergency+Grants+For+Filmmakers+Made+Possible+By+Sundance+Institute&utm_term=here\" rel=\"noopener noreferrer\" target=\"_blank\">15 emergency grants of up to $1,000 each\u003c/a> to Asian American filmmakers with demonstrated financial needs as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>The funds come from the $1 million \u003ca href=\"https://www.sundance.org/covid19\" rel=\"noopener noreferrer\" target=\"_blank\">Sundance Institute Respond and Reimagine Plan\u003c/a>, which awarded grants directly to artists, as well as through \u003ca href=\"https://www.artistrelief.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Artist Relief\u003c/a>, and selected organizations to redistribute a remaining $405,000 to artists from historically marginalized communities. Sundance picked 39 grantees across the world, including local media orgs CAAM and Frameline.\u003c/p>\n\u003cp>Applicants for the CAAM emergency grants, among other requirements, must identify as Asian American; cannot be current students; must be directors, producers, cinematographers or editors experiencing dire financial emergencies due to the pandemic; and must have completed at least “one nonfiction film or interactive media project that was publicly exhibited in a curated and/or noncommercial environment.” \u003c/p>\n\u003cp>Applications are due by Monday, Aug. 31. \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSd8SRRSdwVwmJa9_0l_CtalDp1w7bYQKSr2SCeeLjqaZjXTEg/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13884863/caam-offers-emergency-grants-for-asian-american-filmmakers",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_235"
],
"tags": [
"arts_4672",
"arts_10126",
"arts_977",
"arts_3852",
"arts_3590",
"arts_3465",
"arts_11853",
"arts_585"
],
"featImg": "arts_13884872",
"label": "arts_140"
},
"arts_13884793": {
"type": "posts",
"id": "arts_13884793",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13884793",
"score": null,
"sort": [
1597358286000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1597358286,
"format": "standard",
"title": "Mark Kozelek, of Sun Kil Moon and Red House Painters, Accused of Sexual Misconduct",
"headTitle": "Mark Kozelek, of Sun Kil Moon and Red House Painters, Accused of Sexual Misconduct | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Warning\u003c/strong>\u003c/em>\u003cem>: This article contains descriptions of alleged sexual assault and misconduct\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>Three women have come forward with allegations of sexual misconduct against musician Mark Kozelek, who frequently performs as Sun Kil Moon. The accusations were published \u003ca href=\"https://pitchfork.com/news/mark-kozelek-of-sun-kil-moon-accused-of-sexual-misconduct-by-three-women/\" target=\"_blank\" rel=\"noopener noreferrer\">by Pitchfork on Thursday in a report by Amy Zimmerman\u003c/a>.\u003c/p>\n\u003cp>When reached by NPR, a representative responded that Kozelek was not available to comment on the allegations. In its piece, Pitchfork reported that it reached out to Kozelek and his representatives over a dozen times over a period of months seeking comment, and that none of its messages were returned.[aside postid='arts_13883674']\u003c/p>\n\u003cp>A mental health specialist who lives in Los Angeles named Sarah Catherine Golden told Pitchfork that she met Kozelek in 2017 while traveling. After talking with her at one of Kozelek’s shows, she told Pitchfork, he invited her back to his hotel. Once at the hotel, she recounted to the website, Kozelek got undressed and asked her to get into bed with him. According to Golden, when she declined he began masturbating, groped her and attempted to kiss her. She also accused Kozelek of forcibly putting her hand on his penis.\u003c/p>\n\u003cp>Another woman, who used the pseudonym Andrea in Pitchfork’s reporting, says she met Kozelek in 2014, when she was 19. She described a relationship with Kozelek that lasted several months and began with Kozelek exposing herself and intercourse that, she told a friend in a Facebook message the next day, “wasn’t really consensual.” The woman described some of her later encounters with Kozelek as consensual, but told Pitchfork that there were others where “the lines [were] really blurred.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pitchfork also reported a third allegation, from a woman musician who asked not to be named. She alleges that Kozelek “invited her and another female musician to his hotel room after a festival in 2014 and acted inappropriately with her as well.” No other details were provided.[aside postid='arts_13883723']\u003c/p>\n\u003cp>Kozelek is best known as the singer and guitarist of the pioneering slowcore band Red House Painters, with whom he released six studio albums, and for the music he has released more recently under the moniker Sun Kil Moon. He has also drawn attention for antagonizing other artists (as he did with a largely one-sided feud with The War On Drugs in 2014), mocking his fans (as he did at Hopscotch Festival in 2014, calling the crowd \u003ca href=\"https://pitchfork.com/news/56588-mark-kozelek-tells-fucking-hillbilly-audience-to-shut-the-fuck-up/\" target=\"_blank\" rel=\"noopener noreferrer\">“f****** hillbillies”\u003c/a>) and for harassing female journalists, including Pitchfork’s Allison Hussey and \u003cem>The Guardian\u003c/em> critic Laura Snapes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Three months after Golden’s alleged assault, according to Pitchfork, she emailed Kozelek and said, in part, “Do you know that you were really inappropriate? As in, you broke me…You put my hand on your d***. I froze. I was so stuck there.” He reportedly did not email her back.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mark+Kozelek%2C+Of+Sun+Kil+Moon+And+Red+House+Painters%2C+Accused+Of+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 494,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705020287,
"excerpt": "The established indie singer and songwriter was accused in a report published by Pitchfork on Thursday.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The established indie singer and songwriter was accused in a report published by Pitchfork on Thursday.",
"title": "Mark Kozelek, of Sun Kil Moon and Red House Painters, Accused of Sexual Misconduct | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Mark Kozelek, of Sun Kil Moon and Red House Painters, Accused of Sexual Misconduct",
"datePublished": "2020-08-13T15:38:06-07:00",
"dateModified": "2024-01-11T16:44:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mark-kozelek-of-sun-kil-moon-and-red-house-painters-accused-of-sexual-misconduct",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=902278523&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 13 Aug 2020 17:18:08 -0400",
"nprLastModifiedDate": "Thu, 13 Aug 2020 18:06:28 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/08/13/902278523/mark-kozelek-of-sun-kil-moon-an-red-house-painters-accused-of-sexual-misconduct?ft=nprml&f=902278523",
"nprImageAgency": "Getty Images",
"nprStoryId": "902278523",
"nprByline": "Marissa Lorusso",
"sticky": false,
"nprImageCredit": "Scott Dudelson",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 13 Aug 2020 18:06:00 -0400",
"path": "/arts/13884793/mark-kozelek-of-sun-kil-moon-and-red-house-painters-accused-of-sexual-misconduct",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Warning\u003c/strong>\u003c/em>\u003cem>: This article contains descriptions of alleged sexual assault and misconduct\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>Three women have come forward with allegations of sexual misconduct against musician Mark Kozelek, who frequently performs as Sun Kil Moon. The accusations were published \u003ca href=\"https://pitchfork.com/news/mark-kozelek-of-sun-kil-moon-accused-of-sexual-misconduct-by-three-women/\" target=\"_blank\" rel=\"noopener noreferrer\">by Pitchfork on Thursday in a report by Amy Zimmerman\u003c/a>.\u003c/p>\n\u003cp>When reached by NPR, a representative responded that Kozelek was not available to comment on the allegations. In its piece, Pitchfork reported that it reached out to Kozelek and his representatives over a dozen times over a period of months seeking comment, and that none of its messages were returned.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13883674",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A mental health specialist who lives in Los Angeles named Sarah Catherine Golden told Pitchfork that she met Kozelek in 2017 while traveling. After talking with her at one of Kozelek’s shows, she told Pitchfork, he invited her back to his hotel. Once at the hotel, she recounted to the website, Kozelek got undressed and asked her to get into bed with him. According to Golden, when she declined he began masturbating, groped her and attempted to kiss her. She also accused Kozelek of forcibly putting her hand on his penis.\u003c/p>\n\u003cp>Another woman, who used the pseudonym Andrea in Pitchfork’s reporting, says she met Kozelek in 2014, when she was 19. She described a relationship with Kozelek that lasted several months and began with Kozelek exposing herself and intercourse that, she told a friend in a Facebook message the next day, “wasn’t really consensual.” The woman described some of her later encounters with Kozelek as consensual, but told Pitchfork that there were others where “the lines [were] really blurred.”\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>Pitchfork also reported a third allegation, from a woman musician who asked not to be named. She alleges that Kozelek “invited her and another female musician to his hotel room after a festival in 2014 and acted inappropriately with her as well.” No other details were provided.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13883723",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kozelek is best known as the singer and guitarist of the pioneering slowcore band Red House Painters, with whom he released six studio albums, and for the music he has released more recently under the moniker Sun Kil Moon. He has also drawn attention for antagonizing other artists (as he did with a largely one-sided feud with The War On Drugs in 2014), mocking his fans (as he did at Hopscotch Festival in 2014, calling the crowd \u003ca href=\"https://pitchfork.com/news/56588-mark-kozelek-tells-fucking-hillbilly-audience-to-shut-the-fuck-up/\" target=\"_blank\" rel=\"noopener noreferrer\">“f****** hillbillies”\u003c/a>) and for harassing female journalists, including Pitchfork’s Allison Hussey and \u003cem>The Guardian\u003c/em> critic Laura Snapes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Three months after Golden’s alleged assault, according to Pitchfork, she emailed Kozelek and said, in part, “Do you know that you were really inappropriate? As in, you broke me…You put my hand on your d***. I froze. I was so stuck there.” He reportedly did not email her back.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mark+Kozelek%2C+Of+Sun+Kil+Moon+And+Red+House+Painters%2C+Accused+Of+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13884793/mark-kozelek-of-sun-kil-moon-and-red-house-painters-accused-of-sexual-misconduct",
"authors": [
"byline_arts_13884793"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_2798",
"arts_2462"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13884794",
"label": "arts_137"
},
"arts_13878110": {
"type": "posts",
"id": "arts_13878110",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13878110",
"score": null,
"sort": [
1597334410000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1597334410,
"format": "standard",
"title": "Some Good News: Ruth Asawa Stamps are Here",
"headTitle": "Some Good News: Ruth Asawa Stamps are Here | KQED",
"content": "\u003cp>Ruth Asawa has been commemorated in a run of official postage stamps, available today, Aug. 13. \u003c/p>\n\u003cp>The stamps honor the work of the late, beloved San Francisco-based Asawa, a Japanese American artist whose fountains adorn the city and whose detailed wire sculptures have become an instantly recognizable emblem of her long, varied career.\u003c/p>\n\u003cp>The 20 stamps in the set showcase Asawa’s wire sculptures, with a 1954 \u003cem>Life\u003c/em> magazine photograph of Asawa in the margin of the set. The stamps, good for use indefinitely as “Forever” stamps, cost 55¢ each or $11 for a sheet of 20. They can be purchased in person at any post office branch, or \u003ca href=\"https://store.usps.com/store/product/buy-stamps/ruth-asawa-S_476304\" rel=\"noopener noreferrer\" target=\"_blank\">online directly from the USPS\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13884760\" class=\"wp-caption aligncenter\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg\" alt=\"Stamps featuring the wire sculpture of Ruth Asawa.\" width=\"522\" height=\"470\" class=\"size-full wp-image-13884760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet-160x144.jpg 160w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">Stamps featuring the wire sculpture of Ruth Asawa. \u003ccite>(USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Ruth Asawa stamps will be commemorated in a \u003ca href=\"https://stamps.org/news/c/news/cat/us-new-issues/post/star-treks-george-takei-featured-in-asawa-stamp-dedication\" rel=\"noopener noreferrer\" target=\"_blank\">virtual dedication ceremony\u003c/a> on Aug. 13 at 10:30am Pacific Time on the USPS’ \u003ca href=\"https://twitter.com/USPS\" rel=\"noopener noreferrer\" target=\"_blank\">Twitter\u003c/a> and \u003ca href=\"https://www.facebook.com/USPS/\" rel=\"noopener noreferrer\" target=\"_blank\">Facebook\u003c/a> pages. George Takei, of \u003cem>Star Trek\u003c/em> fame, is scheduled to speak.\u003c/p>\n\u003cp>Asawa’s wire sculptures will be familiar to visitors of the de Young Museum in San Francisco. Fifteen are on permanent display in the museum’s tower building. \u003c/p>\n\u003cp>Asawa was born in 1926. During WWII, she and members of her family were sent to Santa Anita racetrack, and then to Arkansas, as part of the U.S. internment of Japanese Americans. She later attended Black Mountain College in North Carolina. Though versed in a variety of disciplines, her work with wire sculpture attracted nationwide attention starting in the 1950s.\u003c/p>\n\u003cp>In 1966, Asawa created the mermaid fountain in San Francisco’s Ghirardelli Square. Fountains at the Hyatt in Union Square, the Embarcadero, and other locations around the Bay Area followed, often created in collaboration with schoolchildren. Asawa also led a drive to establish the San Francisco School for the Arts, now named in her honor.\u003c/p>\n\u003cp>Asawa died in 2013. A biography of her life and work, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13878921/everything-she-touched-emotionally-textured-biography-of-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Everything She Touched: The Life of Ruth Asawa\u003c/a>\u003c/em>, was released earlier this year by Chronicle Books. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 342,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705020290,
"excerpt": "The stamps, showcasing Asawa's wire sculptures, are now available for purchase in person or online.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The stamps, showcasing Asawa's wire sculptures, are now available for purchase in person or online.",
"title": "Some Good News: Ruth Asawa Stamps are Here | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Some Good News: Ruth Asawa Stamps are Here",
"datePublished": "2020-08-13T09:00:10-07:00",
"dateModified": "2024-01-11T16:44:50-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "some-good-news-ruth-asawa-stamps-are-coming",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13878110/some-good-news-ruth-asawa-stamps-are-coming",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ruth Asawa has been commemorated in a run of official postage stamps, available today, Aug. 13. \u003c/p>\n\u003cp>The stamps honor the work of the late, beloved San Francisco-based Asawa, a Japanese American artist whose fountains adorn the city and whose detailed wire sculptures have become an instantly recognizable emblem of her long, varied career.\u003c/p>\n\u003cp>The 20 stamps in the set showcase Asawa’s wire sculptures, with a 1954 \u003cem>Life\u003c/em> magazine photograph of Asawa in the margin of the set. The stamps, good for use indefinitely as “Forever” stamps, cost 55¢ each or $11 for a sheet of 20. They can be purchased in person at any post office branch, or \u003ca href=\"https://store.usps.com/store/product/buy-stamps/ruth-asawa-S_476304\" rel=\"noopener noreferrer\" target=\"_blank\">online directly from the USPS\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13884760\" class=\"wp-caption aligncenter\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg\" alt=\"Stamps featuring the wire sculpture of Ruth Asawa.\" width=\"522\" height=\"470\" class=\"size-full wp-image-13884760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet-160x144.jpg 160w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">Stamps featuring the wire sculpture of Ruth Asawa. \u003ccite>(USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Ruth Asawa stamps will be commemorated in a \u003ca href=\"https://stamps.org/news/c/news/cat/us-new-issues/post/star-treks-george-takei-featured-in-asawa-stamp-dedication\" rel=\"noopener noreferrer\" target=\"_blank\">virtual dedication ceremony\u003c/a> on Aug. 13 at 10:30am Pacific Time on the USPS’ \u003ca href=\"https://twitter.com/USPS\" rel=\"noopener noreferrer\" target=\"_blank\">Twitter\u003c/a> and \u003ca href=\"https://www.facebook.com/USPS/\" rel=\"noopener noreferrer\" target=\"_blank\">Facebook\u003c/a> pages. George Takei, of \u003cem>Star Trek\u003c/em> fame, is scheduled to speak.\u003c/p>\n\u003cp>Asawa’s wire sculptures will be familiar to visitors of the de Young Museum in San Francisco. Fifteen are on permanent display in the museum’s tower building. \u003c/p>\n\u003cp>Asawa was born in 1926. During WWII, she and members of her family were sent to Santa Anita racetrack, and then to Arkansas, as part of the U.S. internment of Japanese Americans. She later attended Black Mountain College in North Carolina. Though versed in a variety of disciplines, her work with wire sculpture attracted nationwide attention starting in the 1950s.\u003c/p>\n\u003cp>In 1966, Asawa created the mermaid fountain in San Francisco’s Ghirardelli Square. Fountains at the Hyatt in Union Square, the Embarcadero, and other locations around the Bay Area followed, often created in collaboration with schoolchildren. Asawa also led a drive to establish the San Francisco School for the Arts, now named in her honor.\u003c/p>\n\u003cp>Asawa died in 2013. A biography of her life and work, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13878921/everything-she-touched-emotionally-textured-biography-of-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Everything She Touched: The Life of Ruth Asawa\u003c/a>\u003c/em>, was released earlier this year by Chronicle Books. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13878110/some-good-news-ruth-asawa-stamps-are-coming",
"authors": [
"185"
],
"categories": [
"arts_235",
"arts_70"
],
"tags": [
"arts_4672",
"arts_11323",
"arts_10278",
"arts_901"
],
"featImg": "arts_13878109",
"label": "arts"
},
"arts_13884700": {
"type": "posts",
"id": "arts_13884700",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13884700",
"score": null,
"sort": [
1597268106000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1597268106,
"format": "standard",
"title": "The Club Replacing Slim's is Named YOLO and Won't Have Live Music—Only DJs",
"headTitle": "The Club Replacing Slim’s is Named YOLO and Won’t Have Live Music—Only DJs | KQED",
"content": "\u003cp>Slim’s, the San Francisco nightclub that presented an eclectic array of live rock, blues, jazz, folk, R&B and rap artists for over 30 years, has been sold to new owners promising to book “mostly EDM, Top 40 DJs” and “no live band[s] like what Slim’s had.”\u003c/p>\n\u003cp>The new club in the former Slim’s location at 333 11th Street will be called YOLO, according to a permit application to the City of San Francisco. The application also promises a dress code, ropes or barricades for lines at the front entrance, and security staff in suits and ties. The new owners, Michael Hu and Peter Lin, have been co-owners for the past eight years of \u003ca href=\"https://www.purenightclub408.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pure Nightclub\u003c/a> in downtown Sunnyvale, a lounge concept club with VIP sections and bottle service. It looks like \u003ca href=\"https://www.purenightclub408.com/\" rel=\"noopener noreferrer\" target=\"_blank\">this\u003c/a>.\u003c/p>\n\u003cp>In other words, it’s not at all like Slim’s, whose \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">closure in March\u003c/a> marked the beginning of the pandemic and the end of a Bay Area institution. In its three-decade run, Slim’s hosted a constant stream of live bands, including intimate shows by Radiohead, Prince, Coldplay, Bruno Mars and thousands of others inside its brick walls.\u003c/p>\n\u003cp>That type of booking, which cemented Slim’s as an “iconic space, and historic space,” as entertainment commissioner Steven Lee put it in \u003ca href=\"https://sanfrancisco.granicus.com/MediaPlayer.php?view_id=99&clip_id=36319\" target=\"_blank\" rel=\"noopener noreferrer\">an Aug. 4 permit approval meeting\u003c/a>, does not extend to the club’s new format. YOLO’s booking will tag-team with Pure Nightclub, Wu announced in the permit meeting, with the same DJs playing alternating weekend nights at both clubs.\u003c/p>\n\u003cp>While Top 40 and EDM DJs \u003ca href=\"https://www.purenightclub408.com/hall-of-fame/\" target=\"_blank\" rel=\"noopener noreferrer\">are a staple\u003c/a> at Pure, the club has also held afterparties “hosted” by well-known rappers and R&B stars (past afterparties have included DaBaby, YG, Blueface and Nipsey Hussle)—not so much a full concert but an appearance, during which a small handful of songs might be performed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Central to YOLO’s permit application is the questionable assertion that “the music output from a DJ performance will be much less than a live band,” presumably referring to the greater control a club has over the volume of a DJ, versus a band’s amplifiers and drums.\u003c/p>\n\u003cp>However, as commissioner Laura Thomas pointed out in the meeting, the commission has for years received no sound complaints about Slim’s due to the installation of extensive soundproofing in the building, which YOLO aims to keep in place. The primary issue causing “a long series of complaints,” which other commissioners echoed, has been people congregating around and leaving the street’s clubs and bars loudly at late hours.\u003c/p>\n\u003cp>Wu said he had not yet spoken with any residential neighbors, and was strongly advised by the commission to do so. (Wu also added that, due to the pandemic, “I don’t see us opening anytime soon.”) YOLO is asking to retain the Extended Hours Premises permit granted to Slim’s, which would allow the club to stay open until 4am—an option the owners say they’d like to have, but would not exercise often, claiming that most events would end by 2am.\u003c/p>\n\u003cp>Not discussed during the meeting was the section in the permit application about YOLO’s dress code, which openly states that “our dress code is merely a tool to use to deny unwanted guests,” and bans sports apparel and baggy or oversized clothes. The application also provides that YOLO’s dress code could change based on “the type of events we’ll have.” \u003c/p>\n\u003cp>Just before Wu and Lin received conditional approval for their permits, a lone comment from the public was read: “Would you still have live music like Slim’s did? There aren’t enough rock venues in the city.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question went unanswered, and the meeting moved to the next item on the agenda.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 681,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705020294,
"excerpt": "The new club will have a dress code, ropes at the entrance, and 'mostly EDM and Top 40 DJs.'",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The new club will have a dress code, ropes at the entrance, and 'mostly EDM and Top 40 DJs.'",
"title": "The Club Replacing Slim's is Named YOLO and Won't Have Live Music—Only DJs | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Club Replacing Slim's is Named YOLO and Won't Have Live Music—Only DJs",
"datePublished": "2020-08-12T14:35:06-07:00",
"dateModified": "2024-01-11T16:44:54-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-club-replacing-slims-wont-have-live-music-only-djs",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13884700/the-club-replacing-slims-wont-have-live-music-only-djs",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Slim’s, the San Francisco nightclub that presented an eclectic array of live rock, blues, jazz, folk, R&B and rap artists for over 30 years, has been sold to new owners promising to book “mostly EDM, Top 40 DJs” and “no live band[s] like what Slim’s had.”\u003c/p>\n\u003cp>The new club in the former Slim’s location at 333 11th Street will be called YOLO, according to a permit application to the City of San Francisco. The application also promises a dress code, ropes or barricades for lines at the front entrance, and security staff in suits and ties. The new owners, Michael Hu and Peter Lin, have been co-owners for the past eight years of \u003ca href=\"https://www.purenightclub408.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pure Nightclub\u003c/a> in downtown Sunnyvale, a lounge concept club with VIP sections and bottle service. It looks like \u003ca href=\"https://www.purenightclub408.com/\" rel=\"noopener noreferrer\" target=\"_blank\">this\u003c/a>.\u003c/p>\n\u003cp>In other words, it’s not at all like Slim’s, whose \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">closure in March\u003c/a> marked the beginning of the pandemic and the end of a Bay Area institution. In its three-decade run, Slim’s hosted a constant stream of live bands, including intimate shows by Radiohead, Prince, Coldplay, Bruno Mars and thousands of others inside its brick walls.\u003c/p>\n\u003cp>That type of booking, which cemented Slim’s as an “iconic space, and historic space,” as entertainment commissioner Steven Lee put it in \u003ca href=\"https://sanfrancisco.granicus.com/MediaPlayer.php?view_id=99&clip_id=36319\" target=\"_blank\" rel=\"noopener noreferrer\">an Aug. 4 permit approval meeting\u003c/a>, does not extend to the club’s new format. YOLO’s booking will tag-team with Pure Nightclub, Wu announced in the permit meeting, with the same DJs playing alternating weekend nights at both clubs.\u003c/p>\n\u003cp>While Top 40 and EDM DJs \u003ca href=\"https://www.purenightclub408.com/hall-of-fame/\" target=\"_blank\" rel=\"noopener noreferrer\">are a staple\u003c/a> at Pure, the club has also held afterparties “hosted” by well-known rappers and R&B stars (past afterparties have included DaBaby, YG, Blueface and Nipsey Hussle)—not so much a full concert but an appearance, during which a small handful of songs might be performed.\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>Central to YOLO’s permit application is the questionable assertion that “the music output from a DJ performance will be much less than a live band,” presumably referring to the greater control a club has over the volume of a DJ, versus a band’s amplifiers and drums.\u003c/p>\n\u003cp>However, as commissioner Laura Thomas pointed out in the meeting, the commission has for years received no sound complaints about Slim’s due to the installation of extensive soundproofing in the building, which YOLO aims to keep in place. The primary issue causing “a long series of complaints,” which other commissioners echoed, has been people congregating around and leaving the street’s clubs and bars loudly at late hours.\u003c/p>\n\u003cp>Wu said he had not yet spoken with any residential neighbors, and was strongly advised by the commission to do so. (Wu also added that, due to the pandemic, “I don’t see us opening anytime soon.”) YOLO is asking to retain the Extended Hours Premises permit granted to Slim’s, which would allow the club to stay open until 4am—an option the owners say they’d like to have, but would not exercise often, claiming that most events would end by 2am.\u003c/p>\n\u003cp>Not discussed during the meeting was the section in the permit application about YOLO’s dress code, which openly states that “our dress code is merely a tool to use to deny unwanted guests,” and bans sports apparel and baggy or oversized clothes. The application also provides that YOLO’s dress code could change based on “the type of events we’ll have.” \u003c/p>\n\u003cp>Just before Wu and Lin received conditional approval for their permits, a lone comment from the public was read: “Would you still have live music like Slim’s did? There aren’t enough rock venues in the city.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question went unanswered, and the meeting moved to the next item on the agenda.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13884700/the-club-replacing-slims-wont-have-live-music-only-djs",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_5733",
"arts_10278",
"arts_6387",
"arts_1146",
"arts_3278",
"arts_4903"
],
"featImg": "arts_13884735",
"label": "arts"
},
"arts_13884721": {
"type": "posts",
"id": "arts_13884721",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13884721",
"score": null,
"sort": [
1597260936000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1597260936,
"format": "standard",
"title": "Three R. Kelly Associates Arrested For Trying to Bribe, Intimidate Alleged Victims",
"headTitle": "Three R. Kelly Associates Arrested For Trying to Bribe, Intimidate Alleged Victims | KQED",
"content": "\u003cp>Three associates of fallen R&B star R. Kelly were arrested and charged Tuesday by New York federal authorities. The three are being accused of attempting to harass, threaten, intimidate and bribe several of Kelly’s alleged victims of sexual abuse.\u003c/p>\n\u003cp>The men are 31-year-old Richard Arline, Jr. a self-described friend of the singer; Donnell Russell, 45, a self-described “manager, advisor and friend” of Kelly; and Michael Williams, age 37, whom prosecutors say is a relative of one of Kelly’s former publicists.\u003c/p>\n\u003cp>The charges were filed in the Eastern District of New York [EDNY]. According to prosecutors, Arline tried to bribe one of Kelly’s alleged victims earlier this year with a proposed payment of $500,000, in order to keep her from cooperating with the government and testifying against Kelly at trial. Prosecutors also say that Arline claimed that he has been in touch with Kelly, while he is being held in custody, via a three-way phone call.\u003c/p>\n\u003cp>Russell, prosecutors say, tried to harass and intimidate another alleged Kelly victim and her mother between November 2018 and February of this year, after the woman filed a civil lawsuit against the singer. They accuse Russell of threatening to release sexually explicit photos of the woman, and to reveal elements of her sexual history, if she did not withdraw the suit. [aside postid='pop_104682']\u003c/p>\n\u003cp>The prosecutors say that Russell, using an alias, also sent versions of those photos to producers and executives at Lifetime and A&E television on Dec. 4, 2018—the day that Lifetime was to hold an advance screening of part of its \u003cem>Surviving R. Kelly \u003c/em>docuseries. That screening and a panel discussion was canceled due to a gun threat that was called in shortly before the event was to take place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Williams is charged with setting fire on June 11 to an SUV that was parked outside of a residence where one of Kelly’s alleged victims was staying in Florida; the SUV was leased by the woman’s father. According to prosecutors, investigators also found a fire accelerant around the residence. Additionally, prosecutors say, Williams searched the internet for information about the flammability of fertilizer and diesel fuel; materials about witness intimidation and tampering; and information about countries that do not have extradition treaties with the U.S.\u003c/p>\n\u003cp>Almost immediately after the charges against the men were announced on Wednesday, one of Kelly’s attorneys, Steve Greenberg, posted on \u003ca href=\"https://twitter.com/SGcrimlaw/status/1293582381610340355?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>: “Without question, Robert Kelly had nothing to do with any of these alleged acts by those charged. He hasn’t attempted to intimidate anyone, or encouraged anyone else to do so. No involvement whatsoever.” [aside postid='pop_108417']\u003c/p>\n\u003cp>The New York prosecutors had already alleged that Kelly and his associates—including “managers, bodyguards, drivers, personal assistants and runners for Kelly, as well as members of Kelly’s entourage”—were acting as an \u003ca href=\"https://www.npr.org/2020/03/13/815500741/new-york-federal-prosecutors-file-new-charges-against-r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">organized crime ring\u003c/a>.\u003c/p>\n\u003cp>They have also contended that Kelly obstructed justice by destroying evidence and bribing witnesses during his last criminal trial, which ended with a not guilty verdict in Chicago in 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kelly is currently facing two sets of federal criminal charges: one from EDNY and the other in Illinois. In total, these comprise 22 charges for allegedly abusing 11 girls and women over the course of more than two decades, from 1994 to 2018.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+R.+Kelly+Associates+Arrested+For+Trying+To+Bribe%2C+Intimidate+Alleged+Victims&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 586,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705020296,
"excerpt": "Federal prosecutors say that one of the charged men tried to bribe an alleged Kelly victim with $500,000. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Federal prosecutors say that one of the charged men tried to bribe an alleged Kelly victim with $500,000. ",
"title": "Three R. Kelly Associates Arrested For Trying to Bribe, Intimidate Alleged Victims | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Three R. Kelly Associates Arrested For Trying to Bribe, Intimidate Alleged Victims",
"datePublished": "2020-08-12T12:35:36-07:00",
"dateModified": "2024-01-11T16:44:56-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "three-r-kelly-associates-arrested-for-trying-to-bribe-intimidate-alleged-victims",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=901738670&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 12 Aug 2020 13:49:52 -0400",
"nprLastModifiedDate": "Wed, 12 Aug 2020 14:01:28 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/08/12/901738670/three-r-kelly-associates-arrested-for-trying-to-bribe-intimidate-alleged-victims?ft=nprml&f=901738670",
"nprImageAgency": "AFP via Getty Images",
"nprStoryId": "901738670",
"nprByline": "Anastasia Tsioulcas",
"sticky": false,
"nprImageCredit": "Kamil Krzaczynski",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 12 Aug 2020 13:49:00 -0400",
"path": "/arts/13884721/three-r-kelly-associates-arrested-for-trying-to-bribe-intimidate-alleged-victims",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three associates of fallen R&B star R. Kelly were arrested and charged Tuesday by New York federal authorities. The three are being accused of attempting to harass, threaten, intimidate and bribe several of Kelly’s alleged victims of sexual abuse.\u003c/p>\n\u003cp>The men are 31-year-old Richard Arline, Jr. a self-described friend of the singer; Donnell Russell, 45, a self-described “manager, advisor and friend” of Kelly; and Michael Williams, age 37, whom prosecutors say is a relative of one of Kelly’s former publicists.\u003c/p>\n\u003cp>The charges were filed in the Eastern District of New York [EDNY]. According to prosecutors, Arline tried to bribe one of Kelly’s alleged victims earlier this year with a proposed payment of $500,000, in order to keep her from cooperating with the government and testifying against Kelly at trial. Prosecutors also say that Arline claimed that he has been in touch with Kelly, while he is being held in custody, via a three-way phone call.\u003c/p>\n\u003cp>Russell, prosecutors say, tried to harass and intimidate another alleged Kelly victim and her mother between November 2018 and February of this year, after the woman filed a civil lawsuit against the singer. They accuse Russell of threatening to release sexually explicit photos of the woman, and to reveal elements of her sexual history, if she did not withdraw the suit. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_104682",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The prosecutors say that Russell, using an alias, also sent versions of those photos to producers and executives at Lifetime and A&E television on Dec. 4, 2018—the day that Lifetime was to hold an advance screening of part of its \u003cem>Surviving R. Kelly \u003c/em>docuseries. That screening and a panel discussion was canceled due to a gun threat that was called in shortly before the event was to take place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Williams is charged with setting fire on June 11 to an SUV that was parked outside of a residence where one of Kelly’s alleged victims was staying in Florida; the SUV was leased by the woman’s father. According to prosecutors, investigators also found a fire accelerant around the residence. Additionally, prosecutors say, Williams searched the internet for information about the flammability of fertilizer and diesel fuel; materials about witness intimidation and tampering; and information about countries that do not have extradition treaties with the U.S.\u003c/p>\n\u003cp>Almost immediately after the charges against the men were announced on Wednesday, one of Kelly’s attorneys, Steve Greenberg, posted on \u003ca href=\"https://twitter.com/SGcrimlaw/status/1293582381610340355?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>: “Without question, Robert Kelly had nothing to do with any of these alleged acts by those charged. He hasn’t attempted to intimidate anyone, or encouraged anyone else to do so. No involvement whatsoever.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_108417",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The New York prosecutors had already alleged that Kelly and his associates—including “managers, bodyguards, drivers, personal assistants and runners for Kelly, as well as members of Kelly’s entourage”—were acting as an \u003ca href=\"https://www.npr.org/2020/03/13/815500741/new-york-federal-prosecutors-file-new-charges-against-r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">organized crime ring\u003c/a>.\u003c/p>\n\u003cp>They have also contended that Kelly obstructed justice by destroying evidence and bribing witnesses during his last criminal trial, which ended with a not guilty verdict in Chicago in 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kelly is currently facing two sets of federal criminal charges: one from EDNY and the other in Illinois. In total, these comprise 22 charges for allegedly abusing 11 girls and women over the course of more than two decades, from 1994 to 2018.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+R.+Kelly+Associates+Arrested+For+Trying+To+Bribe%2C+Intimidate+Alleged+Victims&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13884721/three-r-kelly-associates-arrested-for-trying-to-bribe-intimidate-alleged-victims",
"authors": [
"byline_arts_13884721"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_2461",
"arts_6443"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13884722",
"label": "arts_137"
},
"arts_13884427": {
"type": "posts",
"id": "arts_13884427",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13884427",
"score": null,
"sort": [
1596817438000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1596817438,
"format": "standard",
"title": "Actors Advocate for Full Contractural Pay After Pandemic Forces Play to Close",
"headTitle": "Actors Advocate for Full Contractural Pay After Pandemic Forces Play to Close | KQED",
"content": "\u003cp>When Santoya Fields thinks about the first time—and last time—she and her cast-mates performed \u003cem>School Girls; Or, the African Mean Girls Play\u003c/em> at Berkeley Repertory Theatre, on March 16, what sticks out is the profound lack of clarity surrounding the circumstances.\u003c/p>\n\u003cp>Called in on their normally scheduled day off to rehearse and then perform the full show, which was filmed by an unscheduled camera crew, the cast and crew were told in an all-hands meeting by Berkeley Rep’s managing director, Susie Medak, that the recording was being made to “honor” their work. Though their show would never open to a live audience—Berkeley’s shelter-in-place order took effect the next day—the recording of the performance would be made available to ticketholders for a two-week time period.\u003c/p>\n\u003cp>It was, managing director Susie Medak tells KQED, a way to honor obligations to their expectant audience as well.\u003c/p>\n\u003cp>The situation was not an isolated one; theaters nationwide this year suddenly went dark, and \u003ca href=\"https://www.kqed.org/arts/13879316/the-good-the-bad-and-the-glitchy-streaming-theater-during-shelter-in-place\">many of them\u003c/a> broadcast recorded versions of their closed shows. But similar to \u003ca href=\"https://www.nytimes.com/2002/05/22/theater/how-broadway-bounced-back-after-9-11-but-downtown-theater-lacked-the-right-ties.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York City theaters after 9-11\u003c/a>, the story of \u003cem>School Girls; Or, the African Mean Girls Play\u003c/em> at Berkeley Rep provides a case study in the disputes that arise when a show is forced to close due to circumstances out of the theater’s control.\u003c/p>\n\u003cfigure id=\"attachment_13884431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884431\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santoya Fields, actor in ‘School Girls; Or, the African Mean Girls Play’ at Berkeley Repertory Theatre. \u003ccite>(Mallore Hill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Things Were Moving So Fast’\u003c/h2>\n\u003cp>During the meeting on March 16, Fields, the union deputy for the cast, asked for clarification on the actors’ compensation. Medak verbally promised everyone in the room two weeks’ pay. Fields recalls that when she then asked whether those two weeks constituted extra pay beyond the four weeks specified by their Actors’ Equity-negotiated contracts, her question was dismissed.\u003c/p>\n\u003cp>“We only have to pay you for three days,” she remembers Medak saying, invoking the Actors’ Equity “Act of God” clause. But as Fields and Idehenre contend, \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Force_majeure\" target=\"_blank\" rel=\"noopener noreferrer\">force majeure\u003c/a>\u003c/em> was rejected in other shows that closed around the country. Nonetheless, the cast was given just 45 minutes to prepare themselves for their first, and only, full performance, which would be filmed and then broadcast, in a hastily-negotiated arrangement between Berkeley Rep, A.C.T., and Actors’ Equity.\u003c/p>\n\u003cp>“We were still doing blocking,” Fields’ fellow cast-mate Omozé Idehenre recalls about that day. “We’re in tech, we’re under duress because we’re in the pandemic, so we have no time to process…or to figure things out.”\u003c/p>\n\u003cp>“In all of my years of running a theater, I’ve just never had to do anything quite like this,” Medak recalls about that day. “Things were moving so fast at that point.”\u003c/p>\n\u003cfigure id=\"attachment_13884429\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884429\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney.jpg\" alt=\"\" width=\"600\" height=\"880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney.jpg 746w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney-160x235.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Omozé Idehenre, actor in ‘School Girls; Or, the African Mean Girls Play’ at Berkeley Repertory Theatre. \u003ccite>(Andy Rooney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A New Contract, and a Breach of the Old One\u003c/h2>\n\u003cp>To add to Fields’ and Idehenre’s unease, they received an email two days later from Berkeley Rep that included a “rider” to their original contracts. This rider guaranteed payment through April 5. But the contract they had signed in February specified a four-week notice for termination, meaning they were eligible for four weeks’ worth of regular pay at termination. As they’d already been paid their contracted salary through March 22, being paid additionally through April 5 fell short of those four weeks.\u003c/p>\n\u003cp>Included with the new rider was a copy of an agreement between Berkeley Rep and Actors’ Equity, which specified that the theater would be allowed to record and broadcast a scheduled performance of \u003cem>School Girls\u003c/em>, as well as the already-closed \u003cem>Culture Clash (Still) in America\u003c/em>. The agreement itself seemed to have violated the previous contract in multiple ways—in the time of notice given to the actors before the recording, in the compensation due for the recording being made, and the fact that the show recorded was not a scheduled performance, but rather a previously unscheduled run-through of a show still in rehearsal.\u003c/p>\n\u003cp>According to union member Velina Brown—who pens \u003cem>The Business of Show Biz\u003c/em> column for \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a>—in order to film a show, for any purpose, a theater is contractually obligated to obtain the actors’ express permission. She also emphasizes that an actor must be notified 24 hours before a recording is made, instead of being told in a rushed meeting a couple of hours before the shoot.\u003c/p>\n\u003cp>Indeed, the so-titled streaming agreement with Actors’ Equity states that “best efforts” should be made to give “no less” than 24 hours. But, as Medak points out, “having a notice (issued the morning of March 16) from the governor that the building must be shut down” precluded Berkeley Rep’s ability to give that much notice. For them, filming had to happen Monday or never. And so they proceeded with the recording, and officially closed the show.\u003c/p>\n\u003cfigure id=\"attachment_13884432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Susie Medak, managing director for Berkeley Repertory Theatre. \u003ccite>(Cheshire Issacs/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We Just Couldn’t Get Answers’\u003c/h2>\n\u003cp>But for Fields and Idehenre, questions lingered around what compensation they were owed, and they reached out to Actors’ Equity for answers. It’s since become clear to them that not only did Berkeley Rep fail to adhere to the terms of their original contracts, but that Actors’ Equity failed in their mandate to enforce them. Over the course of the past few months, Fields and Idehenre researched the particulars of those contracts and the events leading up to the recording being made, in multiple conversations with Berkeley Rep, Actors’ Equity, and experts such as Velina Brown. To date, they haven’t found the results satisfactory.\u003c/p>\n\u003cp>“We were really trying to understand how all this happened,” Fields relates. “We went in with all these questions and we just couldn’t get answers. The union [now] recognizes that things were not done properly, but they’re still not holding themselves accountable.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The whole purpose to being in the union is that there are agreements that have been collectively bargained, and the union is there to back up any member if those agreements are not being upheld or met,” Brown stresses. “When you as an actor are coming in, you are just signing on to this contract, and if there’s anything not right, you go to the union.”\u003c/p>\n\u003cp>By investigating the case on their own, Fields and Idehenre have opened themselves up to what Brown views as potential for backlash—the very thing union protection is supposed to prevent.\u003c/p>\n\u003cp>Beyond continuing to press the union for a more thorough examination of their experiences and contracts with Berkeley Rep, Fields and Idehenre want Actors’ Equity to provide a public statement of accountability and “very clear” guidance for moving forward in a pandemic-affected arena. “How will you regain the trust of your members and assure us that you are working for our interests?” Fields asks.\u003c/p>\n\u003cp>Through spokesperson Brandon Lorenz, Actors’ Equity commented that “we are in active conversations with the Equity-represented employees and Berkeley Rep to resolve outstanding issues from this production and ensure that everyone is appropriately compensated for their work.”\u003c/p>\n\u003cp>As of this writing, that resolution is still pending.\u003c/p>\n\u003cp>“I really think anyone who looks at this situation can just see how we as actors did not have power in that moment,” Fields points out. “I think that imbalance of power needs to be addressed… how people devalue actors. Even when they’re essential to what you need.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1352,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705020314,
"excerpt": "When the pandemic forced a play at Berkeley Rep to close, questions of actors' pay remained. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "When the pandemic forced a play at Berkeley Rep to close, questions of actors' pay remained. ",
"title": "Actors Advocate for Full Contractural Pay After Pandemic Forces Play to Close | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Actors Advocate for Full Contractural Pay After Pandemic Forces Play to Close",
"datePublished": "2020-08-07T09:23:58-07:00",
"dateModified": "2024-01-11T16:45:14-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "actors-advocate-for-full-contractural-pay-after-pandemic-forces-play-to-close",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13884427/actors-advocate-for-full-contractural-pay-after-pandemic-forces-play-to-close",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Santoya Fields thinks about the first time—and last time—she and her cast-mates performed \u003cem>School Girls; Or, the African Mean Girls Play\u003c/em> at Berkeley Repertory Theatre, on March 16, what sticks out is the profound lack of clarity surrounding the circumstances.\u003c/p>\n\u003cp>Called in on their normally scheduled day off to rehearse and then perform the full show, which was filmed by an unscheduled camera crew, the cast and crew were told in an all-hands meeting by Berkeley Rep’s managing director, Susie Medak, that the recording was being made to “honor” their work. Though their show would never open to a live audience—Berkeley’s shelter-in-place order took effect the next day—the recording of the performance would be made available to ticketholders for a two-week time period.\u003c/p>\n\u003cp>It was, managing director Susie Medak tells KQED, a way to honor obligations to their expectant audience as well.\u003c/p>\n\u003cp>The situation was not an isolated one; theaters nationwide this year suddenly went dark, and \u003ca href=\"https://www.kqed.org/arts/13879316/the-good-the-bad-and-the-glitchy-streaming-theater-during-shelter-in-place\">many of them\u003c/a> broadcast recorded versions of their closed shows. But similar to \u003ca href=\"https://www.nytimes.com/2002/05/22/theater/how-broadway-bounced-back-after-9-11-but-downtown-theater-lacked-the-right-ties.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York City theaters after 9-11\u003c/a>, the story of \u003cem>School Girls; Or, the African Mean Girls Play\u003c/em> at Berkeley Rep provides a case study in the disputes that arise when a show is forced to close due to circumstances out of the theater’s control.\u003c/p>\n\u003cfigure id=\"attachment_13884431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884431\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santoya Fields, actor in ‘School Girls; Or, the African Mean Girls Play’ at Berkeley Repertory Theatre. \u003ccite>(Mallore Hill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Things Were Moving So Fast’\u003c/h2>\n\u003cp>During the meeting on March 16, Fields, the union deputy for the cast, asked for clarification on the actors’ compensation. Medak verbally promised everyone in the room two weeks’ pay. Fields recalls that when she then asked whether those two weeks constituted extra pay beyond the four weeks specified by their Actors’ Equity-negotiated contracts, her question was dismissed.\u003c/p>\n\u003cp>“We only have to pay you for three days,” she remembers Medak saying, invoking the Actors’ Equity “Act of God” clause. But as Fields and Idehenre contend, \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Force_majeure\" target=\"_blank\" rel=\"noopener noreferrer\">force majeure\u003c/a>\u003c/em> was rejected in other shows that closed around the country. Nonetheless, the cast was given just 45 minutes to prepare themselves for their first, and only, full performance, which would be filmed and then broadcast, in a hastily-negotiated arrangement between Berkeley Rep, A.C.T., and Actors’ Equity.\u003c/p>\n\u003cp>“We were still doing blocking,” Fields’ fellow cast-mate Omozé Idehenre recalls about that day. “We’re in tech, we’re under duress because we’re in the pandemic, so we have no time to process…or to figure things out.”\u003c/p>\n\u003cp>“In all of my years of running a theater, I’ve just never had to do anything quite like this,” Medak recalls about that day. “Things were moving so fast at that point.”\u003c/p>\n\u003cfigure id=\"attachment_13884429\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884429\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney.jpg\" alt=\"\" width=\"600\" height=\"880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney.jpg 746w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney-160x235.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Omozé Idehenre, actor in ‘School Girls; Or, the African Mean Girls Play’ at Berkeley Repertory Theatre. \u003ccite>(Andy Rooney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A New Contract, and a Breach of the Old One\u003c/h2>\n\u003cp>To add to Fields’ and Idehenre’s unease, they received an email two days later from Berkeley Rep that included a “rider” to their original contracts. This rider guaranteed payment through April 5. But the contract they had signed in February specified a four-week notice for termination, meaning they were eligible for four weeks’ worth of regular pay at termination. As they’d already been paid their contracted salary through March 22, being paid additionally through April 5 fell short of those four weeks.\u003c/p>\n\u003cp>Included with the new rider was a copy of an agreement between Berkeley Rep and Actors’ Equity, which specified that the theater would be allowed to record and broadcast a scheduled performance of \u003cem>School Girls\u003c/em>, as well as the already-closed \u003cem>Culture Clash (Still) in America\u003c/em>. The agreement itself seemed to have violated the previous contract in multiple ways—in the time of notice given to the actors before the recording, in the compensation due for the recording being made, and the fact that the show recorded was not a scheduled performance, but rather a previously unscheduled run-through of a show still in rehearsal.\u003c/p>\n\u003cp>According to union member Velina Brown—who pens \u003cem>The Business of Show Biz\u003c/em> column for \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a>—in order to film a show, for any purpose, a theater is contractually obligated to obtain the actors’ express permission. She also emphasizes that an actor must be notified 24 hours before a recording is made, instead of being told in a rushed meeting a couple of hours before the shoot.\u003c/p>\n\u003cp>Indeed, the so-titled streaming agreement with Actors’ Equity states that “best efforts” should be made to give “no less” than 24 hours. But, as Medak points out, “having a notice (issued the morning of March 16) from the governor that the building must be shut down” precluded Berkeley Rep’s ability to give that much notice. For them, filming had to happen Monday or never. And so they proceeded with the recording, and officially closed the show.\u003c/p>\n\u003cfigure id=\"attachment_13884432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Susie Medak, managing director for Berkeley Repertory Theatre. \u003ccite>(Cheshire Issacs/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We Just Couldn’t Get Answers’\u003c/h2>\n\u003cp>But for Fields and Idehenre, questions lingered around what compensation they were owed, and they reached out to Actors’ Equity for answers. It’s since become clear to them that not only did Berkeley Rep fail to adhere to the terms of their original contracts, but that Actors’ Equity failed in their mandate to enforce them. Over the course of the past few months, Fields and Idehenre researched the particulars of those contracts and the events leading up to the recording being made, in multiple conversations with Berkeley Rep, Actors’ Equity, and experts such as Velina Brown. To date, they haven’t found the results satisfactory.\u003c/p>\n\u003cp>“We were really trying to understand how all this happened,” Fields relates. “We went in with all these questions and we just couldn’t get answers. The union [now] recognizes that things were not done properly, but they’re still not holding themselves accountable.”\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 whole purpose to being in the union is that there are agreements that have been collectively bargained, and the union is there to back up any member if those agreements are not being upheld or met,” Brown stresses. “When you as an actor are coming in, you are just signing on to this contract, and if there’s anything not right, you go to the union.”\u003c/p>\n\u003cp>By investigating the case on their own, Fields and Idehenre have opened themselves up to what Brown views as potential for backlash—the very thing union protection is supposed to prevent.\u003c/p>\n\u003cp>Beyond continuing to press the union for a more thorough examination of their experiences and contracts with Berkeley Rep, Fields and Idehenre want Actors’ Equity to provide a public statement of accountability and “very clear” guidance for moving forward in a pandemic-affected arena. “How will you regain the trust of your members and assure us that you are working for our interests?” Fields asks.\u003c/p>\n\u003cp>Through spokesperson Brandon Lorenz, Actors’ Equity commented that “we are in active conversations with the Equity-represented employees and Berkeley Rep to resolve outstanding issues from this production and ensure that everyone is appropriately compensated for their work.”\u003c/p>\n\u003cp>As of this writing, that resolution is still pending.\u003c/p>\n\u003cp>“I really think anyone who looks at this situation can just see how we as actors did not have power in that moment,” Fields points out. “I think that imbalance of power needs to be addressed… how people devalue actors. Even when they’re essential to what you need.”\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13884427/actors-advocate-for-full-contractural-pay-after-pandemic-forces-play-to-close",
"authors": [
"11497"
],
"categories": [
"arts_1",
"arts_235",
"arts_967"
],
"tags": [
"arts_1237",
"arts_10126",
"arts_10278"
],
"featImg": "arts_13884433",
"label": "arts"
},
"arts_13884392": {
"type": "posts",
"id": "arts_13884392",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13884392",
"score": null,
"sort": [
1596656500000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1596656500,
"format": "standard",
"title": "Drag Performers Could Run Your California Polling Place in November",
"headTitle": "Drag Performers Could Run Your California Polling Place in November | KQED",
"content": "\u003cp>Though it may not be obvious from the wigs and glitter, drag has always been a \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener noreferrer\">political art form\u003c/a>. In the 1960s, drag queens and trans women rioted against abusive police officers at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria\u003c/a> and New York’s Stonewall Inn, ushering in the modern-day gay rights movement. In the 1980s, the Sisters of Perpetual Indulgence used street theater to raise awareness and money for AIDS/HIV treatment while the federal government ignored the epidemic. Today, San Francisco drag performer \u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!\u003c/a> campaigns for candidates and publishes a voting guide every election season, and Honey Mahogany is closely involved in city politics, helping San Francisco found the \u003ca href=\"https://www.kqed.org/news/11717648/worlds-first-transgender-culture-district-looks-to-the-past-and-the-future\" target=\"_blank\" rel=\"noopener noreferrer\">world’s first Transgender Cultural District\u003c/a>.\u003c/p>\n\u003cp>All that is to say that it makes perfect sense for California Secretary of State Alex Padilla to partner with Drag Out the Vote to boost turnout for the Nov. 3 election. It’s a bipartisan organization that operates in all 50 states, and its drag ambassadors register people to vote and motivate the LGBTQ+ community to get politically active. (Brita Filter and Jiggly Caliente of \u003cem>RuPaul’s Drag Race\u003c/em> fame are among their ranks.) Under the new partnership with the state of California, the first of its kind in the nation, drag performers will be tasked with disseminating timely and accurate election information, working polling places and acting as election observers.\u003c/p>\n\u003cp>[aside link1=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics,Juanita MORE!, Beloved Drag Mother, is Queering San Francisco Politics\" link2=\"https://www.kqed.org/arts/13835002/a-kqed-arts-series-the-changing-face-of-drag,The Changing Face of Drag\"]\u003cbr>\n“Every eligible voter should have the ability to cast a ballot free of barriers, and the LGBTQ+ community is no different,” Padilla said in a statement.\u003c/p>\n\u003cp>One in five LGBTQ+ adults aren’t registered to vote. And with Gen Z—the queerest generation—coming of age, it’s a crucial time to boost voter turnout. Drag performers who want to get involved have until Sept. 30 to register. \u003ca href=\"https://www.dragoutthevote2020.org/dap\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/XQUFjEEK4d4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 367,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705020326,
"excerpt": "California is the first state to officially enlist drag queens and kings as election ambassadors and poll workers. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "California is the first state to officially enlist drag queens and kings as election ambassadors and poll workers. ",
"title": "Drag Performers Could Run Your California Polling Place in November | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Drag Performers Could Run Your California Polling Place in November",
"datePublished": "2020-08-05T12:41:40-07:00",
"dateModified": "2024-01-11T16:45:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "drag-performers-could-run-your-california-polling-place-in-november",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13884392/drag-performers-could-run-your-california-polling-place-in-november",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though it may not be obvious from the wigs and glitter, drag has always been a \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener noreferrer\">political art form\u003c/a>. In the 1960s, drag queens and trans women rioted against abusive police officers at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria\u003c/a> and New York’s Stonewall Inn, ushering in the modern-day gay rights movement. In the 1980s, the Sisters of Perpetual Indulgence used street theater to raise awareness and money for AIDS/HIV treatment while the federal government ignored the epidemic. Today, San Francisco drag performer \u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!\u003c/a> campaigns for candidates and publishes a voting guide every election season, and Honey Mahogany is closely involved in city politics, helping San Francisco found the \u003ca href=\"https://www.kqed.org/news/11717648/worlds-first-transgender-culture-district-looks-to-the-past-and-the-future\" target=\"_blank\" rel=\"noopener noreferrer\">world’s first Transgender Cultural District\u003c/a>.\u003c/p>\n\u003cp>All that is to say that it makes perfect sense for California Secretary of State Alex Padilla to partner with Drag Out the Vote to boost turnout for the Nov. 3 election. It’s a bipartisan organization that operates in all 50 states, and its drag ambassadors register people to vote and motivate the LGBTQ+ community to get politically active. (Brita Filter and Jiggly Caliente of \u003cem>RuPaul’s Drag Race\u003c/em> fame are among their ranks.) Under the new partnership with the state of California, the first of its kind in the nation, drag performers will be tasked with disseminating timely and accurate election information, working polling places and acting as election observers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"link1": "https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics,Juanita MORE!, Beloved Drag Mother, is Queering San Francisco Politics",
"link2": "https://www.kqed.org/arts/13835002/a-kqed-arts-series-the-changing-face-of-drag,The Changing Face of Drag",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n“Every eligible voter should have the ability to cast a ballot free of barriers, and the LGBTQ+ community is no different,” Padilla said in a statement.\u003c/p>\n\u003cp>One in five LGBTQ+ adults aren’t registered to vote. And with Gen Z—the queerest generation—coming of age, it’s a crucial time to boost voter turnout. Drag performers who want to get involved have until Sept. 30 to register. \u003ca href=\"https://www.dragoutthevote2020.org/dap\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XQUFjEEK4d4'\n title='//www.youtube.com/embed/XQUFjEEK4d4'\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13884392/drag-performers-could-run-your-california-polling-place-in-november",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_235"
],
"tags": [
"arts_1556",
"arts_10342",
"arts_10278"
],
"featImg": "arts_13884396",
"label": "arts"
},
"arts_13884216": {
"type": "posts",
"id": "arts_13884216",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13884216",
"score": null,
"sort": [
1596487144000
]
},
"guestAuthors": [],
"slug": "supporters-rally-around-new-deal-mural-threatened-by-ucsf-construction",
"title": "Supporters Rally Around New Deal Mural Threatened by UCSF Construction",
"publishDate": 1596487144,
"format": "standard",
"headTitle": "Supporters Rally Around New Deal Mural Threatened by UCSF Construction | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ci>Updated Aug. 4, 3:45pm\u003c/i>\u003c/p>\n\u003cp>On a recent Saturday, Temi Washington, the great-great-granddaughter of Bridget “Biddy” Mason, spoke about the importance of seeing Black lives represented in American history. The occasion was a virtual panel discussion for LaborFest, the first virtual event for the annual San Francisco celebration of labor movements and the history of workers. Washington was there to talk about the future of a New Deal-era mural featuring her ancestor, a nurse and midwife in 19th-century Los Angeles. \u003c/p>\n\u003cp>“The story behind it certainly needs to be told,” Washington said of Bernard Zakheim’s 10-panel fresco \u003cem>History of Medicine in California\u003c/em>. In early June, the University of California San Francisco announced the frescoes would need to either be moved or destroyed to make way for a new research and academic building planned at the school’s Parnassus Heights campus. The school offered to preserve the frescoes digitally.[aside postID=\"news_11767493\"]\u003c/p>\n\u003cp>But Washington, the Zakheim family, and community supporters emphasized digital files would be no replacement for viewing the frescoes in person. Many argue that removing the murals will erase the already little-known history of Biddy Mason in the process. Mason was brought to California (a free state) by her enslaver, who was eventually apprehended with the help of local authorities. In a 1856 ruling by a Los Angeles court, she and 13 other enslaved people, including her three children, were declared free. \u003c/p>\n\u003cp>She later worked with one of California’s earliest trained physicians, John S. Griffin. In Zakheim’s fresco, Mason and Griffin are shown as equals, caring for a patient with malaria.\u003c/p>\n\u003cp>Growing up, Washington said she did not see positive portrayals of Black lives in history. She believes the frescoes are a gift to the school. \u003cem>History of Medicine in California\u003c/em> has greeted UCSF hospital workers and visitors to Toland Hall auditorium for over 80 years. Last week, San Francisco Supervisor Aaron Peskin expressed his interest in the frescoes, introducing a resolution to the Board of Supervisors to declare the artwork a historic landmark. \u003c/p>\n\u003cfigure id=\"attachment_13884221\" class=\"wp-caption aligncenter\" style=\"max-width: 991px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/zakheim2.jpg\" alt=\"\" width=\"991\" height=\"277\" class=\"size-full wp-image-13884221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-800x224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-768x215.jpg 768w\" sizes=\"(max-width: 991px) 100vw, 991px\">\u003cfigcaption class=\"wp-caption-text\">Surgeon Don Pedro Prat treats a patient’s leg and James Ohio Pattie vaccinates Californians in a detail of ‘History of Medicine in California.’\u003cbr> \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zakheim’s frescoes, funded by the New Deal’s Federal Art Project, depict the history of medicine in California. The vibrant murals are curved along the walls of the auditorium. In addition to Mason, other medical practitioners treat patients with all varieties of diseases.\u003c/p>\n\u003cp>The GSA considers the frescoes to be the property of the federal government on loan to the university. But the building that houses them is now 103 years old and seismically unfit; the university says it needs to be replaced.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Nonetheless UCSF will continue to work in good faith with all parties to determine if a plan to save the murals is possible,” the school said in a statement.\u003c/p>\n\u003cp>Historic preservation firms hired by UCSF said it would cost about $8 million to remove the frescoes. But Nathan Zakheim, the artist’s son, who has professional experience removing and conserving his father’s work, guarantees he can do the job for just $1 million. “I don’t object to their $8 million quote because that’s the sort of thing greedy conservators like to charge,” he said in the same LaborFest panel, “but I can do it for less than a million.”\u003c/p>\n\u003cfigure id=\"attachment_13884224\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg\" alt=\"\" width=\"1024\" height=\"725\" class=\"size-full wp-image-13884224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-768x544.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Bernard Zakheim and his son Nathan Zakheim, circa 1967. \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“UCSF has decided not to use public funds to physically preserve the murals, especially at a time when the UC system faces financial challenges in the wake of COVID-19,” the university said in a statement to the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>In a legal letter issued to the Zakheim family on June 4, UCSF stated the frescoes were set for demolition, giving the family 90 days to come up with a proposal to save them. Sources close to the project say that due to the ensuing outcry surrounding the frescoes’ potential destruction, as well as discussions about ownership of the murals, that timeline may no longer be in effect. \u003c/p>\n\u003cp>Adam Gottstein, Bernard Zakheim’s grandson, is trying to increase public awareness around his grandfather’s frescoes. In the LaborFest panel, Zakheim family members and community supporters discussed the relevance of the murals to the working class and the public and the political nature that protects them. \u003c/p>\n\u003cp>Robert Sherins, a community member who supports the preservation of the murals, has written six books about Bernard Zakheim’s personal life and paintings. Sherins, as well as other supporters, emphasized the importance of preserving history, especially now. \u003c/p>\n\u003cp>“These frescoes tell the story like none other and they cannot be removed,” Sherins said, “or you will forget history—as everybody else has.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>This article has been updated to accurately describe how Biddy Mason attained her freedom—as a Black woman, she was not able to petition the court on her own behalf at the time.\u003c/i>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that Parnassus Hall is slated to be replaced with a complex of care units. It is slated to be replaced by a new research and academic building.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that the murals were funded by the U.S> General Service Administration. The murals were funded by the Federal Arts Project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Descendants of the artist and one of his subjects spoke to the importance of preserving Bernard Zakheim's depiction of California history.",
"status": "publish",
"parent": 0,
"modified": 1726761659,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 928
},
"headData": {
"title": "Supporters Rally Around New Deal Mural Threatened by UCSF Construction | KQED",
"description": "Descendants of the artist and one of his subjects spoke to the importance of preserving Bernard Zakheim's depiction of California history.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Supporters Rally Around New Deal Mural Threatened by UCSF Construction",
"datePublished": "2020-08-03T13:39:04-07:00",
"dateModified": "2024-09-19T09:00:59-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13884216/supporters-rally-around-new-deal-mural-threatened-by-ucsf-construction",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated Aug. 4, 3:45pm\u003c/i>\u003c/p>\n\u003cp>On a recent Saturday, Temi Washington, the great-great-granddaughter of Bridget “Biddy” Mason, spoke about the importance of seeing Black lives represented in American history. The occasion was a virtual panel discussion for LaborFest, the first virtual event for the annual San Francisco celebration of labor movements and the history of workers. Washington was there to talk about the future of a New Deal-era mural featuring her ancestor, a nurse and midwife in 19th-century Los Angeles. \u003c/p>\n\u003cp>“The story behind it certainly needs to be told,” Washington said of Bernard Zakheim’s 10-panel fresco \u003cem>History of Medicine in California\u003c/em>. In early June, the University of California San Francisco announced the frescoes would need to either be moved or destroyed to make way for a new research and academic building planned at the school’s Parnassus Heights campus. The school offered to preserve the frescoes digitally.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11767493",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Washington, the Zakheim family, and community supporters emphasized digital files would be no replacement for viewing the frescoes in person. Many argue that removing the murals will erase the already little-known history of Biddy Mason in the process. Mason was brought to California (a free state) by her enslaver, who was eventually apprehended with the help of local authorities. In a 1856 ruling by a Los Angeles court, she and 13 other enslaved people, including her three children, were declared free. \u003c/p>\n\u003cp>She later worked with one of California’s earliest trained physicians, John S. Griffin. In Zakheim’s fresco, Mason and Griffin are shown as equals, caring for a patient with malaria.\u003c/p>\n\u003cp>Growing up, Washington said she did not see positive portrayals of Black lives in history. She believes the frescoes are a gift to the school. \u003cem>History of Medicine in California\u003c/em> has greeted UCSF hospital workers and visitors to Toland Hall auditorium for over 80 years. Last week, San Francisco Supervisor Aaron Peskin expressed his interest in the frescoes, introducing a resolution to the Board of Supervisors to declare the artwork a historic landmark. \u003c/p>\n\u003cfigure id=\"attachment_13884221\" class=\"wp-caption aligncenter\" style=\"max-width: 991px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/zakheim2.jpg\" alt=\"\" width=\"991\" height=\"277\" class=\"size-full wp-image-13884221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-800x224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-768x215.jpg 768w\" sizes=\"(max-width: 991px) 100vw, 991px\">\u003cfigcaption class=\"wp-caption-text\">Surgeon Don Pedro Prat treats a patient’s leg and James Ohio Pattie vaccinates Californians in a detail of ‘History of Medicine in California.’\u003cbr> \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zakheim’s frescoes, funded by the New Deal’s Federal Art Project, depict the history of medicine in California. The vibrant murals are curved along the walls of the auditorium. In addition to Mason, other medical practitioners treat patients with all varieties of diseases.\u003c/p>\n\u003cp>The GSA considers the frescoes to be the property of the federal government on loan to the university. But the building that houses them is now 103 years old and seismically unfit; the university says it needs to be replaced.\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>“Nonetheless UCSF will continue to work in good faith with all parties to determine if a plan to save the murals is possible,” the school said in a statement.\u003c/p>\n\u003cp>Historic preservation firms hired by UCSF said it would cost about $8 million to remove the frescoes. But Nathan Zakheim, the artist’s son, who has professional experience removing and conserving his father’s work, guarantees he can do the job for just $1 million. “I don’t object to their $8 million quote because that’s the sort of thing greedy conservators like to charge,” he said in the same LaborFest panel, “but I can do it for less than a million.”\u003c/p>\n\u003cfigure id=\"attachment_13884224\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg\" alt=\"\" width=\"1024\" height=\"725\" class=\"size-full wp-image-13884224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-768x544.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Bernard Zakheim and his son Nathan Zakheim, circa 1967. \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“UCSF has decided not to use public funds to physically preserve the murals, especially at a time when the UC system faces financial challenges in the wake of COVID-19,” the university said in a statement to the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>In a legal letter issued to the Zakheim family on June 4, UCSF stated the frescoes were set for demolition, giving the family 90 days to come up with a proposal to save them. Sources close to the project say that due to the ensuing outcry surrounding the frescoes’ potential destruction, as well as discussions about ownership of the murals, that timeline may no longer be in effect. \u003c/p>\n\u003cp>Adam Gottstein, Bernard Zakheim’s grandson, is trying to increase public awareness around his grandfather’s frescoes. In the LaborFest panel, Zakheim family members and community supporters discussed the relevance of the murals to the working class and the public and the political nature that protects them. \u003c/p>\n\u003cp>Robert Sherins, a community member who supports the preservation of the murals, has written six books about Bernard Zakheim’s personal life and paintings. Sherins, as well as other supporters, emphasized the importance of preserving history, especially now. \u003c/p>\n\u003cp>“These frescoes tell the story like none other and they cannot be removed,” Sherins said, “or you will forget history—as everybody else has.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>This article has been updated to accurately describe how Biddy Mason attained her freedom—as a Black woman, she was not able to petition the court on her own behalf at the time.\u003c/i>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that Parnassus Hall is slated to be replaced with a complex of care units. It is slated to be replaced by a new research and academic building.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that the murals were funded by the U.S> General Service Administration. The murals were funded by the Federal Arts Project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13884216/supporters-rally-around-new-deal-mural-threatened-by-ucsf-construction",
"authors": [
"11659"
],
"categories": [
"arts_1",
"arts_235",
"arts_70"
],
"tags": [
"arts_10278",
"arts_2640",
"arts_1737",
"arts_2653"
],
"featImg": "arts_13884219",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=news": {
"isFetching": false,
"latestQuery": {
"from": 852,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 3755,
"relation": "eq"
},
"items": [
"arts_13885046",
"arts_13885012",
"arts_13883630",
"arts_13884928",
"arts_13884863",
"arts_13884793",
"arts_13878110",
"arts_13884700",
"arts_13884721",
"arts_13884427",
"arts_13884392",
"arts_13884216"
],
"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"
},
"source_arts_13883630": {
"type": "terms",
"id": "source_arts_13883630",
"meta": {
"override": true
},
"name": "Rebel Girls",
"link": "https://www.kqed.org/rebelgirls",
"isLoading": false
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_549": {
"type": "terms",
"id": "arts_549",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "549",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 550,
"slug": "comedy",
"isLoading": false,
"link": "/arts/tag/comedy"
},
"arts_10112": {
"type": "terms",
"id": "arts_10112",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10112",
"found": true
},
"relationships": {},
"featImg": null,
"name": "election 2020",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "election 2020 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10124,
"slug": "election-2020",
"isLoading": false,
"link": "/arts/tag/election-2020"
},
"arts_11813": {
"type": "terms",
"id": "arts_11813",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11813",
"found": true
},
"relationships": {},
"featImg": null,
"name": "lebron james",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "lebron james Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11825,
"slug": "lebron-james",
"isLoading": false,
"link": "/arts/tag/lebron-james"
},
"arts_5826": {
"type": "terms",
"id": "arts_5826",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5826",
"found": true
},
"relationships": {},
"featImg": null,
"name": "politics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "politics Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5838,
"slug": "politics",
"isLoading": false,
"link": "/arts/tag/politics"
},
"arts_4506": {
"type": "terms",
"id": "arts_4506",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4506",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sports",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sports Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4518,
"slug": "sports",
"isLoading": false,
"link": "/arts/tag/sports"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_2227": {
"type": "terms",
"id": "arts_2227",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2227",
"found": true
},
"relationships": {},
"featImg": null,
"name": "BAMPFA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "BAMPFA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2239,
"slug": "bampfa",
"isLoading": false,
"link": "/arts/tag/bampfa"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_2792": {
"type": "terms",
"id": "arts_2792",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2792",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2804,
"slug": "tv",
"isLoading": false,
"link": "/arts/tag/tv"
},
"arts_22303": {
"type": "terms",
"id": "arts_22303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22303",
"found": true
},
"relationships": {},
"name": "Rebel Girls from Bay Area History",
"slug": "rebelgirls",
"taxonomy": "series",
"description": null,
"featImg": null,
"headData": {
"title": "Rebel Girls from Bay Area History | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22315,
"isLoading": false,
"link": "/arts/series/rebelgirls"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_1962": {
"type": "terms",
"id": "arts_1962",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1962",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feminism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feminism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1974,
"slug": "feminism",
"isLoading": false,
"link": "/arts/tag/feminism"
},
"arts_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_21841": {
"type": "terms",
"id": "arts_21841",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21841",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rebelgirls",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rebelgirls Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21853,
"slug": "rebelgirls",
"isLoading": false,
"link": "/arts/tag/rebelgirls"
},
"arts_11735": {
"type": "terms",
"id": "arts_11735",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11735",
"found": true
},
"relationships": {},
"featImg": null,
"name": "women's suffrage",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "women's suffrage Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11747,
"slug": "womens-suffrage",
"isLoading": false,
"link": "/arts/tag/womens-suffrage"
},
"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_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"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_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_4672": {
"type": "terms",
"id": "arts_4672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4672",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Asian American",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Asian American Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4684,
"slug": "asian-american",
"isLoading": false,
"link": "/arts/tag/asian-american"
},
"arts_10126": {
"type": "terms",
"id": "arts_10126",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10126",
"found": true
},
"relationships": {},
"featImg": null,
"name": "coronavirus",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "coronavirus Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10138,
"slug": "coronavirus",
"isLoading": false,
"link": "/arts/tag/coronavirus"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_3852": {
"type": "terms",
"id": "arts_3852",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3852",
"found": true
},
"relationships": {},
"featImg": null,
"name": "filmmaking",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "filmmaking Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3864,
"slug": "filmmaking",
"isLoading": false,
"link": "/arts/tag/filmmaking"
},
"arts_3590": {
"type": "terms",
"id": "arts_3590",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3590",
"found": true
},
"relationships": {},
"featImg": null,
"name": "grants",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "grants Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3602,
"slug": "grants",
"isLoading": false,
"link": "/arts/tag/grants"
},
"arts_3465": {
"type": "terms",
"id": "arts_3465",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3465",
"found": true
},
"relationships": {},
"featImg": null,
"name": "movies",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3477,
"slug": "movies",
"isLoading": false,
"link": "/arts/tag/movies"
},
"arts_11853": {
"type": "terms",
"id": "arts_11853",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11853",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sundance",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sundance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11865,
"slug": "sundance",
"isLoading": false,
"link": "/arts/tag/sundance"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_2798": {
"type": "terms",
"id": "arts_2798",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2798",
"found": true
},
"relationships": {},
"name": "#MeToo",
"slug": "metoo",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "#MeToo | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 2810,
"isLoading": false,
"link": "/arts/tag/metoo"
},
"arts_2462": {
"type": "terms",
"id": "arts_2462",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2462",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sexual assault",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sexual assault Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2474,
"slug": "sexual-assault",
"isLoading": false,
"link": "/arts/tag/sexual-assault"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_11323": {
"type": "terms",
"id": "arts_11323",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11323",
"found": true
},
"relationships": {},
"featImg": null,
"name": "celebrities",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "celebrities Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11335,
"slug": "celebrities",
"isLoading": false,
"link": "/arts/tag/celebrities"
},
"arts_901": {
"type": "terms",
"id": "arts_901",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "901",
"found": true
},
"relationships": {},
"featImg": null,
"name": "visual art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "visual art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 919,
"slug": "visual-art",
"isLoading": false,
"link": "/arts/tag/visual-art"
},
"arts_5733": {
"type": "terms",
"id": "arts_5733",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5733",
"found": true
},
"relationships": {},
"featImg": null,
"name": "entertainment commission",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "entertainment commission Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5745,
"slug": "entertainment-commission",
"isLoading": false,
"link": "/arts/tag/entertainment-commission"
},
"arts_6387": {
"type": "terms",
"id": "arts_6387",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6387",
"found": true
},
"relationships": {},
"featImg": null,
"name": "music venues",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music venues Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6399,
"slug": "music-venues",
"isLoading": false,
"link": "/arts/tag/music-venues"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"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 Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_3278": {
"type": "terms",
"id": "arts_3278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Slim's",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Slim's Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3290,
"slug": "slims",
"isLoading": false,
"link": "/arts/tag/slims"
},
"arts_4903": {
"type": "terms",
"id": "arts_4903",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4903",
"found": true
},
"relationships": {},
"featImg": null,
"name": "soma",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "soma Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4915,
"slug": "soma",
"isLoading": false,
"link": "/arts/tag/soma"
},
"arts_2461": {
"type": "terms",
"id": "arts_2461",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2461",
"found": true
},
"relationships": {},
"featImg": null,
"name": "R. Kelly",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "R. Kelly Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2473,
"slug": "r-kelly",
"isLoading": false,
"link": "/arts/tag/r-kelly"
},
"arts_6443": {
"type": "terms",
"id": "arts_6443",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6443",
"found": true
},
"relationships": {},
"featImg": null,
"name": "surviving r. kelly",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "surviving r. kelly Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6455,
"slug": "surviving-r-kelly",
"isLoading": false,
"link": "/arts/tag/surviving-r-kelly"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_1237": {
"type": "terms",
"id": "arts_1237",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1237",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley Rep",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Rep Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1249,
"slug": "berkeley-rep",
"isLoading": false,
"link": "/arts/tag/berkeley-rep"
},
"arts_1556": {
"type": "terms",
"id": "arts_1556",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1556",
"found": true
},
"relationships": {},
"featImg": null,
"name": "drag",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "drag Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1568,
"slug": "drag",
"isLoading": false,
"link": "/arts/tag/drag"
},
"arts_2640": {
"type": "terms",
"id": "arts_2640",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2640",
"found": true
},
"relationships": {},
"featImg": null,
"name": "history",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "history Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2652,
"slug": "history",
"isLoading": false,
"link": "/arts/tag/history"
},
"arts_1737": {
"type": "terms",
"id": "arts_1737",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1737",
"found": true
},
"relationships": {},
"featImg": null,
"name": "murals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "murals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1749,
"slug": "murals",
"isLoading": false,
"link": "/arts/tag/murals"
},
"arts_2653": {
"type": "terms",
"id": "arts_2653",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2653",
"found": true
},
"relationships": {},
"featImg": null,
"name": "WPA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "WPA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2665,
"slug": "wpa",
"isLoading": false,
"link": "/arts/tag/wpa"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}