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_13014751": {
"type": "attachments",
"id": "arts_13014751",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13014751",
"found": true
},
"parent": 13014545,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335-e1491541795386-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1491541195,
"modified": 1491543761,
"caption": "Norman Mailer 1 (Ari Fliakos) debates Diana Trilling (Greg Mehrten) in the Wooster Group's 'Town Hall Affair' directed by Liz LeCompte.",
"description": "Norman Mailer 1 (Ari Fliakos) debates Diana Trilling (Greg Mehrten) in the Wooster Group's 'Town Hall Affair' directed by Liz LeCompte.",
"title": "TWG_The-Town-Hall-Affair_17_photo-by-Hervé-Véronèse_Scott-Shepherd_Ari-Fliakos_Greg-Mehrten_2335",
"credit": "Photo: Hervé Véronèse",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13004062": {
"type": "attachments",
"id": "arts_13004062",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13004062",
"found": true
},
"parent": 13000457,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/Tothebone1A-e1491358624297-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1491357728,
"modified": 1491358417,
"caption": "(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project's production of 'To the Bone' by Lisa Ramirez.",
"description": "(L to R) Juana (Sarita Ocón) confronts the angelic Carmen (Carla Gallardo) in the Ubuntu Theater Project's production of 'To the Bone' by Lisa Ramirez.",
"title": "Tothebone1A",
"credit": "Photo: Courtesy of the Company",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12978567": {
"type": "attachments",
"id": "arts_12978567",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12978567",
"found": true
},
"parent": 12978132,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/EXCL_003-Lange-Registering-NATIONAL-ARCHIVES-e1490912790238-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1490912618,
"modified": 1490912767,
"caption": "A photo by Dorothea Lange from 'Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco",
"description": "A photo by Dorothea Lange from 'Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco",
"title": "A photo by Dorothea Lange from 'Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco",
"credit": "Photo: Dorothea Lange/Courtesy of The Presidio",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12969041": {
"type": "attachments",
"id": "arts_12969041",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12969041",
"found": true
},
"parent": 12969040,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-520x292.png",
"width": 520,
"mimeType": "image/png",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-960x540.png",
"width": 960,
"mimeType": "image/png",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-375x211.png",
"width": 375,
"mimeType": "image/png",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24.png",
"width": 1913,
"height": 1076
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-1020x574.png",
"width": 1020,
"mimeType": "image/png",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-1180x664.png",
"width": 1180,
"mimeType": "image/png",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-50x50.png",
"width": 50,
"mimeType": "image/png",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-96x96.png",
"width": 96,
"mimeType": "image/png",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-64x64.png",
"width": 64,
"mimeType": "image/png",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-32x32.png",
"width": 32,
"mimeType": "image/png",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-1180x664.png",
"width": 1180,
"mimeType": "image/png",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-150x150.png",
"width": 150,
"mimeType": "image/png",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-768x432.png",
"width": 768,
"mimeType": "image/png",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-128x128.png",
"width": 128,
"mimeType": "image/png",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/tinder_wide-794d7d05943d4efafe59d13f3e6a55a0968dbe24-240x135.png",
"width": 240,
"mimeType": "image/png",
"height": 135
}
},
"publishDate": 1490745804,
"modified": 1490747760,
"caption": "Tenor Scott Joiner and mezzo-soprano Viktoria Falcone try to find love via Tinder in a still from 'Connection Lost: The Tinder Opera.'",
"description": "Tenor Scott Joiner and mezzo-soprano Viktoria Falcone try to find love via Tinder in a still from 'Connection Lost: The Tinder Opera.'",
"title": "Tenor Scott Joiner and mezzo-soprano Viktoria Falcone try to find love via Tinder in a still from Connection Lost: The Tinder Opera.",
"credit": "via YouTube",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12946321": {
"type": "attachments",
"id": "arts_12946321",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12946321",
"found": true
},
"parent": 12946318,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Hamilton1-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1490343465,
"modified": 1490343563,
"caption": "Ruben J. Carbajal, Michael Luwoye, Jordan Donica, Mathenee Treco and the 'Hamilton' company of the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco.",
"description": "Ruben J. Carbajal, Michael Luwoye, Jordan Donica, Mathenee Treco and the 'Hamilton' company of the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco.",
"title": "Hamilton1",
"credit": "Joan Marcus",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12944688": {
"type": "attachments",
"id": "arts_12944688",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12944688",
"found": true
},
"parent": 12943603,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-520x283.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 283
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-160x87.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 87
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-960x523.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 523
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-375x204.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 204
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871.jpg",
"width": 2048,
"height": 1116
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-1020x556.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 556
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-1180x643.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 643
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-800x436.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 436
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-1920x1046.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1046
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-1180x643.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 643
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-1920x1046.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1046
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-768x419.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 419
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/JJ_4690-1-e1490313181871-240x131.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 131
}
},
"publishDate": 1490313010,
"modified": 1490313209,
"caption": "Jose James comes to The Independent in San Francisco",
"description": "Jose James comes to The Independent in San Francisco",
"title": "Jose James comes to The Independent in San Francisco",
"credit": "Photo: Courtesy of Jose James",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12943822": {
"type": "attachments",
"id": "arts_12943822",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12943822",
"found": true
},
"parent": 12943818,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Carey_Perloff_3_print-e1490317519761-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1490300202,
"modified": 1490303512,
"caption": "Artistic Director Carey Perloff.\n",
"description": "Artistic Director Carey Perloff.",
"title": "Artistic Director Carey Perloff.Photo by Kevin Berne.",
"credit": "Photo: Kevin Berne.",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12934186": {
"type": "attachments",
"id": "arts_12934186",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12934186",
"found": true
},
"parent": 12933517,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Berkeley_Rep_TacconeKushner-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1490131579,
"modified": 1490131624,
"caption": "(l to r) Tony Taccone and Tony Kushner, director and playwright of 'Angels in America'",
"description": "(l to r) Tony Taccone and Tony Kushner, director and playwright of 'Angels in America'",
"title": "Berkeley_Rep_TacconeKushner",
"credit": "Photo: Kevin Berne/Berkeley Repertory Theatre",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12911337": {
"type": "attachments",
"id": "arts_12911337",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12911337",
"found": true
},
"parent": 12911335,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-e1489729617108-520x249.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 249
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-1020x576.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-e1489729617108-160x76.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 76
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-e1489729617108-960x459.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 459
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-e1489729617108-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-e1489729617108-375x179.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 179
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-e1489729617108.jpg",
"width": 1019,
"height": 487
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-1020x626.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 626
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-e1489729617108-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-e1489729617108-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-e1489729617108-800x382.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 382
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-e1489729617108-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-e1489729617108-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-e1489729617108-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-e1489729617108-768x367.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 367
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-e1489729617108-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/President-Trump-released-his-budget-blueprint-on-Thursday-calling-for-a-boost-in-military-spending-and-deep-cuts-in-the-Environmental-Protection-Agency-and-other-programs.-e1489729617108-240x115.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 115
}
},
"publishDate": 1489729585,
"modified": 1489729652,
"caption": "President Trump released his budget blueprint on Thursday, calling for a boost in military spending and deep cuts in the Environmental Protection Agency and other programs.",
"description": "President Trump released his budget blueprint on Thursday, calling for a boost in military spending and deep cuts in the Environmental Protection Agency and other programs.",
"title": "President Trump released his budget blueprint on Thursday, calling for a boost in military spending and deep cuts in the Environmental Protection Agency and other programs.",
"credit": "Win McNamee/Getty Images ",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12909713": {
"type": "attachments",
"id": "arts_12909713",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12909713",
"found": true
},
"parent": 12909297,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Nikki-Lane-520x247.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 247
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Nikki-Lane-160x76.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 76
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Nikki-Lane-375x178.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 178
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Nikki-Lane.jpg",
"width": 620,
"height": 295
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Nikki-Lane-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Nikki-Lane-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Nikki-Lane-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Nikki-Lane-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Nikki-Lane-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Nikki-Lane-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/Nikki-Lane-240x114.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 114
}
},
"publishDate": 1489699979,
"modified": 1489715934,
"caption": "Nikki Lane's new album is called 'Highway Queen.'",
"description": "Nikki Lane's new album is 'Highway Queen'",
"title": "Nikki Lane's new album is 'Highway Queen'",
"credit": "Photo: Courtesy of Nikki Lane",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11683550": {
"type": "attachments",
"id": "arts_11683550",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11683550",
"found": true
},
"parent": 11683547,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f.jpg",
"width": 3000,
"height": 1687
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/06/gettyimages-539759582_wide-71c9b22aa39a7d10708d9792a3daea4f4cff6e9f-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1465861103,
"modified": 1528913168,
"caption": "Christopher Jackson, Lin-Manuel Miranda, Anthony Ramos, Daveed Diggs, and the company of 'Hamilton' perform onstage during the 70th Annual Tony Awards.",
"description": "Christopher Jackson, Lin-Manuel Miranda, Anthony Ramos, Daveed Diggs, and the company of \u003cem>Hamilton\u003c/em> perform onstage during the 70th Annual Tony Awards.",
"title": "Christopher Jackson, Lin-Manuel Miranda, Anthony Ramos, Daveed Diggs, and the company of Hamilton perform onstage during the 70th Annual Tony Awards.",
"credit": "Theo Wargo/Getty Images for Tony Awards Productions",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_12900121": {
"type": "attachments",
"id": "arts_12900121",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12900121",
"found": true
},
"parent": 12894686,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4-520x347.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 347
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4.jpg",
"width": 1024,
"height": 683
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/03/PRT-Sofeev-4-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1489528287,
"modified": 1489528320,
"caption": "The cast of 'Revolution.'",
"description": null,
"title": "PRT-Sofeev-4",
"credit": "Alexander Sofeev",
"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_12969040": {
"type": "authors",
"id": "byline_arts_12969040",
"meta": {
"override": true
},
"slug": "byline_arts_12969040",
"name": "Naomi Lewin",
"isLoading": false
},
"byline_arts_12900328": {
"type": "authors",
"id": "byline_arts_12900328",
"meta": {
"override": true
},
"slug": "byline_arts_12900328",
"name": "Jeff Lunden",
"isLoading": false
},
"byline_arts_12894686": {
"type": "authors",
"id": "byline_arts_12894686",
"meta": {
"override": true
},
"slug": "byline_arts_12894686",
"name": "Nastia Voynovskaya",
"isLoading": false
},
"cmusiker": {
"type": "authors",
"id": "32",
"meta": {
"index": "authors_1716337520",
"id": "32",
"found": true
},
"name": "Cy Musiker",
"firstName": "Cy",
"lastName": "Musiker",
"slug": "cmusiker",
"email": "cmusiker@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Cy Musiker is a former co-host of The Do List and a former reporter covering the arts for KQED News and The California Report. He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.",
"avatar": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cy Musiker | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmusiker"
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "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"
},
"jwilkins": {
"type": "authors",
"id": "8668",
"meta": {
"index": "authors_1716337520",
"id": "8668",
"found": true
},
"name": "John Wilkins",
"firstName": "John",
"lastName": "Wilkins",
"slug": "jwilkins",
"email": "Johnrwilkins@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "John Wilkins is the theater critic for KQED Arts. He was the Artistic Director of Last Planet Theatre for ten years and teaches in the Writing and Literature program at CCA. Follow him on Twitter @johnrwilkins2",
"avatar": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "John Wilkins | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/jwilkins"
}
},
"pagesReducer": {
"arts_category_theater": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"score": 12.282726
},
"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,
"title": "Theater",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 46
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=theater",
"seeMore": false,
"paginated": true,
"page": 46
}
},
{
"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_13014545": {
"type": "posts",
"id": "arts_13014545",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13014545",
"score": null,
"sort": [
1491926445000
]
},
"guestAuthors": [],
"slug": "wooster-group-reimagines-crazed-1971-feminist-debate-with-norman-mailer",
"title": "Wooster Group Reimagines Crazed 1971 Feminist Debate with Norman Mailer",
"publishDate": 1491926445,
"format": "standard",
"headTitle": "Wooster Group Reimagines Crazed 1971 Feminist Debate with Norman Mailer | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>One of the lovely aspects of Wooster Group productions under Liz LeCompte’s commanding direction is the way the actors just kind of stroll on stage. It’s as if we’ve caught them in the middle of an elaborate rehearsal meant for some future performance. But since we’re all here, well, why not? Let’s do it.\u003c/p>\n\u003cp>So as he eases his way into \u003ca href=\"http://www.zspace.org/the-town-hall-affair/\" target=\"_blank\" rel=\"noopener\">\u003cem>Town Hall Affair\u003c/em>\u003c/a>, Scott Shepard casually explains the outrage among feminists caused by Norman Mailer’s 1971 article in \u003cem>Harper’s Magazine\u003c/em>, “\u003ca href=\"http://harpers.org/archive/1971/03/the-prisoner-of-sex/\" target=\"_blank\" rel=\"noopener\">The Prisoner of Sex.\u003c/a>” The actor explains that “someone came up with the idea of having an event at Town Hall in New York City in which Norman Mailer would confront and debate some members of the feminist movement.” He then points to the television monitor that hovers above the stage and informs us that “this event was filmed and made into a documentary by D.A. Pennebaker and Chris Hegedus.”\u003c/p>\n\u003cp>And there we have it: the real thing filmed, and its recreation, live on stage. It feels like a reversal of sorts, but is in actuality more of a brutal and aggressive haunting of the past, a grab at everything we’ve lost in spite of its preservation on film. Throughout the evening, what is missing will be as important as what is copied and recreated.\u003c/p>\n\u003cfigure id=\"attachment_13014749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13014749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-800x449.jpg\" alt=\"Norman Mailer 2 (Scott Shepard) and Village Voice columnist Jill Johnston (Kate Valk) go at in the Wooster Group's 'Town Hall Affair' directed by Liz LeCompte.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Norman Mailer 2 (Scott Shepard) and Village Voice columnist Jill Johnston (Kate Valk) go at it in the Wooster Group’s ‘Town Hall Affair’ directed by Liz LeCompte. \u003ccite>(Photo: Paula Court)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To say that the actual affair was unhinged would be to underestimate early 1970s public intellectuals. Captured on film, Norman Mailer, Germaine Greer, \u003cem>Village Voice\u003c/em> columnist Jill Johnston, and literary critic Diana Trilling all carry themselves with the assuredness of demi-gods. If their concerns are only half-human, that half is playing for blood sport and high style.\u003c/p>\n\u003cp>To watch the Wooster Group actors mimic what we see on screen is akin to watching ghosts snap to life. It’s an uncanny talent and at the same time feels sloughed off and provisional, like a slap-dash improvisation. They’re not playing these roles so much as giving them a spin, in the way that jazz musicians chase a tune into pure abstraction. The melody’s still there in its Platonic form, but we experience it as shattered glass.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mailer is such a fantastical presence that it takes two actors of uncommon skill to play him. Ari Fliakos and Scott Shepherd are both spot-on perfect though completely unalike, capturing the way Mailer oscillates between punk pugilist and coiled snake. In full drag, Greg Mehrten’s Trilling feels as if she’s been ripped out of the film and placed before us. Lucy Taylor just takes Greer’s voice and subjects her entire soul to a purr of English hauteur. And Kate Valk, fully costumed and bewigged as Johnston, moves from virtual double to the double as avenging id.\u003c/p>\n\u003cfigure id=\"attachment_13014750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13014750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-800x450.jpg\" alt=\"(L to R) Two Norman Mailers (Ari Fliakos and Scott Shepard) are better than one, as Jill Johnston (Kate Valk) finds out in the Wooster Group's 'Town Hall Affair' directed by Liz LeCompte.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Two Norman Mailers (Ari Fliakos and Scott Shepard) are better than one, as Jill Johnston (Kate Valk) finds out in the Wooster Group’s ‘Town Hall Affair’ directed by Liz LeCompte. \u003ccite>(Photo: Paula Court)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is in Johnston’s crazy ambitions that \u003cem>Town Hall Affair\u003c/em> finds its trippy, kicky soul. In a prelude to the Wooster recreation, Johnston reads a stirring passage from her feminist manifesto, \u003cem>Lesbian Nation\u003c/em> (1973) and recounts her fondest wishes for that night. It’s a remarkable list that includes launching her career as a boxer (“I had plans for renting a pair of Cassius Clay shorts and one glove”), possibly exposing her breasts (“I like my breasts but I was brought up modestly”), and trying to figure out “how to appear on stage late,” because “who appears late has other important things to do.”\u003c/p>\n\u003cp>Without this after-the-fact reminiscence kicking off the evening, Johnston might come across as the least articulate of the speakers, a failed and muddled wit. In the actual, filmed event, she proves to be no match for the sharp and profane Mailer (who uses “cunty” as an endearment), the witty Greer, and the high-handed and formidable Trilling. But on stage, with the prelude, Johnston’s half-baked clown act has bite and force. We see her attempts at insurrection as vital rather than foolish and juvenile. She’s a kind of Cassandra for some as-yet-unheard-of-or-felt revolution.\u003c/p>\n\u003cp>It is this hazy sense of prophecy that makes us feel that we’re never quite getting at what we see, even when what we’re seeing is the documented truth. Our knowledge and awareness of the missing parts is the shifty key to \u003cem>Town Hall Affair\u003c/em>. The matter-of-fact title of the stage production (which excises the blood from the title of the documentary, \u003cem>Town Bloody Hall\u003c/em>), the excessive number of Mailers on stage, and the eruption of his 1970 film, \u003cem>Maidstone, \u003c/em>into the proceedings, all provide the sense that there’s always something lurking in the shadows.\u003c/p>\n\u003cfigure id=\"attachment_13014748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13014748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-800x450.jpg\" alt=\"'Village Voice' columnist Jill Johnston (Kate Valk) dreams of the past in the future of what the past might hold in the Wooster Group's 'Town Hall Affair' directed by Liz LeCompte.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Village Voice’ columnist Jill Johnston (Kate Valk) dreams of the past in the future of what the past might hold in the Wooster Group’s ‘Town Hall Affair’ directed by Liz LeCompte. \u003ccite>(Photo: Zbigniew Bzymek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thus, in a production that recreates a wild feminist event, a number of miracles take place: Mailer is rip-torn from himself and symbolically gives birth to his avenging double and possibly his innocent child, the actual filmed event is overcome by its staged recreation as Johnston’s dreams turn into Mailer’s nightmares doubled over, and the revolution that Johnston wished for that night comes true — maybe — many years later in a wise and gentle coda.\u003c/p>\n\u003cp>The Wooster Group has given us a gift — a joyful, raucous shriek of despair straight out of history’s heart. The least we can do is take an hour or so to hear it thump and soar into an uncertain future.\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=\"Q.Logo.Break\" 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Town Hall Affair’ runs through Sunday, April 16 at Z Space in San Francisco. For tickets and information \u003ca href=\"http://www.zspace.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The great New York-based theater company brilliantly revisits the historic standoff at New York's Town Hall between author Norman Mailer and feminist icons Germaine Greer, Diana Trilling and Jill Johnston. ",
"status": "publish",
"parent": 0,
"modified": 1726701316,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 1109
},
"headData": {
"title": "Wooster Group Reimagines Crazed 1971 Feminist Debate with Norman Mailer | KQED",
"description": "The great New York-based theater company brilliantly revisits the historic standoff at New York's Town Hall between author Norman Mailer and feminist icons Germaine Greer, Diana Trilling and Jill Johnston. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Wooster Group Reimagines Crazed 1971 Feminist Debate with Norman Mailer",
"datePublished": "2017-04-11T09:00:45-07:00",
"dateModified": "2024-09-18T16:15:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13014545/wooster-group-reimagines-crazed-1971-feminist-debate-with-norman-mailer",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the lovely aspects of Wooster Group productions under Liz LeCompte’s commanding direction is the way the actors just kind of stroll on stage. It’s as if we’ve caught them in the middle of an elaborate rehearsal meant for some future performance. But since we’re all here, well, why not? Let’s do it.\u003c/p>\n\u003cp>So as he eases his way into \u003ca href=\"http://www.zspace.org/the-town-hall-affair/\" target=\"_blank\" rel=\"noopener\">\u003cem>Town Hall Affair\u003c/em>\u003c/a>, Scott Shepard casually explains the outrage among feminists caused by Norman Mailer’s 1971 article in \u003cem>Harper’s Magazine\u003c/em>, “\u003ca href=\"http://harpers.org/archive/1971/03/the-prisoner-of-sex/\" target=\"_blank\" rel=\"noopener\">The Prisoner of Sex.\u003c/a>” The actor explains that “someone came up with the idea of having an event at Town Hall in New York City in which Norman Mailer would confront and debate some members of the feminist movement.” He then points to the television monitor that hovers above the stage and informs us that “this event was filmed and made into a documentary by D.A. Pennebaker and Chris Hegedus.”\u003c/p>\n\u003cp>And there we have it: the real thing filmed, and its recreation, live on stage. It feels like a reversal of sorts, but is in actuality more of a brutal and aggressive haunting of the past, a grab at everything we’ve lost in spite of its preservation on film. Throughout the evening, what is missing will be as important as what is copied and recreated.\u003c/p>\n\u003cfigure id=\"attachment_13014749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13014749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-800x449.jpg\" alt=\"Norman Mailer 2 (Scott Shepard) and Village Voice columnist Jill Johnston (Kate Valk) go at in the Wooster Group's 'Town Hall Affair' directed by Liz LeCompte.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_09_photo-by-Paula-Court_Scott-Shepherd_Kate-Valk_IMG_0730-e1491543097842.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Norman Mailer 2 (Scott Shepard) and Village Voice columnist Jill Johnston (Kate Valk) go at it in the Wooster Group’s ‘Town Hall Affair’ directed by Liz LeCompte. \u003ccite>(Photo: Paula Court)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To say that the actual affair was unhinged would be to underestimate early 1970s public intellectuals. Captured on film, Norman Mailer, Germaine Greer, \u003cem>Village Voice\u003c/em> columnist Jill Johnston, and literary critic Diana Trilling all carry themselves with the assuredness of demi-gods. If their concerns are only half-human, that half is playing for blood sport and high style.\u003c/p>\n\u003cp>To watch the Wooster Group actors mimic what we see on screen is akin to watching ghosts snap to life. It’s an uncanny talent and at the same time feels sloughed off and provisional, like a slap-dash improvisation. They’re not playing these roles so much as giving them a spin, in the way that jazz musicians chase a tune into pure abstraction. The melody’s still there in its Platonic form, but we experience it as shattered glass.\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>Mailer is such a fantastical presence that it takes two actors of uncommon skill to play him. Ari Fliakos and Scott Shepherd are both spot-on perfect though completely unalike, capturing the way Mailer oscillates between punk pugilist and coiled snake. In full drag, Greg Mehrten’s Trilling feels as if she’s been ripped out of the film and placed before us. Lucy Taylor just takes Greer’s voice and subjects her entire soul to a purr of English hauteur. And Kate Valk, fully costumed and bewigged as Johnston, moves from virtual double to the double as avenging id.\u003c/p>\n\u003cfigure id=\"attachment_13014750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13014750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-800x450.jpg\" alt=\"(L to R) Two Norman Mailers (Ari Fliakos and Scott Shepard) are better than one, as Jill Johnston (Kate Valk) finds out in the Wooster Group's 'Town Hall Affair' directed by Liz LeCompte.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_The-Town-Hall-Affair_14_photo-by-Paula-Court_Ari-Fliakos_Scott-Shepherd_Kate-Valk_IMG_1771-e1491543208194.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Two Norman Mailers (Ari Fliakos and Scott Shepard) are better than one, as Jill Johnston (Kate Valk) finds out in the Wooster Group’s ‘Town Hall Affair’ directed by Liz LeCompte. \u003ccite>(Photo: Paula Court)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is in Johnston’s crazy ambitions that \u003cem>Town Hall Affair\u003c/em> finds its trippy, kicky soul. In a prelude to the Wooster recreation, Johnston reads a stirring passage from her feminist manifesto, \u003cem>Lesbian Nation\u003c/em> (1973) and recounts her fondest wishes for that night. It’s a remarkable list that includes launching her career as a boxer (“I had plans for renting a pair of Cassius Clay shorts and one glove”), possibly exposing her breasts (“I like my breasts but I was brought up modestly”), and trying to figure out “how to appear on stage late,” because “who appears late has other important things to do.”\u003c/p>\n\u003cp>Without this after-the-fact reminiscence kicking off the evening, Johnston might come across as the least articulate of the speakers, a failed and muddled wit. In the actual, filmed event, she proves to be no match for the sharp and profane Mailer (who uses “cunty” as an endearment), the witty Greer, and the high-handed and formidable Trilling. But on stage, with the prelude, Johnston’s half-baked clown act has bite and force. We see her attempts at insurrection as vital rather than foolish and juvenile. She’s a kind of Cassandra for some as-yet-unheard-of-or-felt revolution.\u003c/p>\n\u003cp>It is this hazy sense of prophecy that makes us feel that we’re never quite getting at what we see, even when what we’re seeing is the documented truth. Our knowledge and awareness of the missing parts is the shifty key to \u003cem>Town Hall Affair\u003c/em>. The matter-of-fact title of the stage production (which excises the blood from the title of the documentary, \u003cem>Town Bloody Hall\u003c/em>), the excessive number of Mailers on stage, and the eruption of his 1970 film, \u003cem>Maidstone, \u003c/em>into the proceedings, all provide the sense that there’s always something lurking in the shadows.\u003c/p>\n\u003cfigure id=\"attachment_13014748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13014748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-800x450.jpg\" alt=\"'Village Voice' columnist Jill Johnston (Kate Valk) dreams of the past in the future of what the past might hold in the Wooster Group's 'Town Hall Affair' directed by Liz LeCompte.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/TWG_THE-TOWN-HALL-AFFAIR_04_photo-by-Zbigniew-Bzymek_Kate-Valk_IMG_9196-e1491543428866.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Village Voice’ columnist Jill Johnston (Kate Valk) dreams of the past in the future of what the past might hold in the Wooster Group’s ‘Town Hall Affair’ directed by Liz LeCompte. \u003ccite>(Photo: Zbigniew Bzymek)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thus, in a production that recreates a wild feminist event, a number of miracles take place: Mailer is rip-torn from himself and symbolically gives birth to his avenging double and possibly his innocent child, the actual filmed event is overcome by its staged recreation as Johnston’s dreams turn into Mailer’s nightmares doubled over, and the revolution that Johnston wished for that night comes true — maybe — many years later in a wise and gentle coda.\u003c/p>\n\u003cp>The Wooster Group has given us a gift — a joyful, raucous shriek of despair straight out of history’s heart. The least we can do is take an hour or so to hear it thump and soar into an uncertain future.\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=\"Q.Logo.Break\" 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Town Hall Affair’ runs through Sunday, April 16 at Z Space in San Francisco. For tickets and information \u003ca href=\"http://www.zspace.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13014545/wooster-group-reimagines-crazed-1971-feminist-debate-with-norman-mailer",
"authors": [
"8668"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_13014751",
"label": "arts"
},
"arts_13000457": {
"type": "posts",
"id": "arts_13000457",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13000457",
"score": null,
"sort": [
1491436814000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1491436814,
"format": "standard",
"title": "'To the Bone' Explores Workers' Lives Outside the Law",
"headTitle": "‘To the Bone’ Explores Workers’ Lives Outside the Law | KQED",
"content": "\u003cp>Lisa Ramirez’s \u003cem>To The Bone\u003c/em> is not only a vicious melodrama about the lives of a group of immigrant women working in a New York poultry factory, but also a philosophical disquisition. The disquisition is just as vicious as the melodrama, showing what happens to people when they live outside the law. And by outside the law, I don’t mean that the workers are undocumented — though most of them are — or that their illegal status makes them ersatz criminals. No, Ramirez is after something more elusive and terrifying: a world where the law does not exist, and, paradoxically, is always in full force.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The daring \u003ca href=\"http://www.ubuntutheaterproject.com/to-the-bone/\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a> is always flirting with some combination of high art theater, rip-out-the-gut tales of woe, and liberationist politics. Heady, artsy, and visceral, the company provides a much-needed antidote to the toothless posturing that passes for political theater in the Bay Area. In \u003cem>To the Bone\u003c/em>, director Michael Socrates Moran and his excellent cast plunge into Ramirez’s unsettling slice of everyday nightmare with a subtle and sure step.\u003c/p>\n\u003cp>Strikingly, our first glimpse of this hell is one of simple routine. A house full of women struggles to maintain what seems to be an unending cycle of work, home, food, sleep, and work again. It’s close to an animal’s life, though these animals are cursed with dreams and imagination.\u003c/p>\n\u003cfigure id=\"attachment_13004063\" class=\"wp-caption aligncenter\" style=\"max-width: 485px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13004063\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Tothebone1b-e1491358238832.jpg\" alt=\"(L to R) Olga (Lisa Ramirez) and her daughter Lupe (Juliana Aiden) try to imagine the future in the Ubuntu Theater Project's production of 'To the Bone' by Lisa Ramirez.\" width=\"485\" height=\"270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Tothebone1b-e1491358238832.jpg 485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Tothebone1b-e1491358238832-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Tothebone1b-e1491358238832-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Tothebone1b-e1491358238832-375x209.jpg 375w\" sizes=\"(max-width: 485px) 100vw, 485px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Olga (Lisa Ramirez) and her daughter Lupe (Juliana Aiden) try to imagine the future in the Ubuntu Theater Project’s production of ‘To the Bone’ by Lisa Ramirez. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The haunted Juana (a terrific and subtle Sarita Ocón) falls into a fugue state every night, reliving the moment before her daughter’s disappearance at the border. Olga, the only one with a green card, is bitter and ready for revolt, while desperately trying to guide her skater punk daughter Lupe to a better life. And the good-natured Reina’s front of cautious optimism hides a brutal realist who cannot and will not imagine escape.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As in both drama and life, all you need is one slight change to upset the established order. And so, like magic, Reina’s angelic niece Carmen appears. The women house her, get her a job at the factory, and even introduce her to Jorge, a young man of exceptional kindness. Carmen’s mere presence, virginal and full of hope, subtly changes the dynamics of the house, and, fleetingly, what seems possible. And that’s when the real terror begins.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=Nv7sRPNI3Fc\">https://www.youtube.com/watch?v=Nv7sRPNI3Fc\u003c/a>\u003c/p>\n\u003cp>What Ramirez makes clear is that when you have no recourse to the law — even if you’re beautiful, kind, and innocent — the law turns into an arbitrary, destructive force. It is both unfocused and annihilating. By turning that insight into drama, \u003cem>To the Bone\u003c/em> demands that the invisible world of immigrant workers be seen: not as injustice — that means you’re in the system — but instead as the reduction of life to its barest state.\u003c/p>\n\u003cp>You can feel the absence of an ordered world in the way the villainous owner of the poultry plant, Daryl (an off-handed and terrifying William Hartfield), feels put upon when confronted with his crimes. Or the way the women scream at Olga and call her a “beast” for still believing in any semblance of the law. Or the way Carmen is in constant danger simply by attracting attention.\u003c/p>\n\u003cp>To say that these issues are in the news would be an understatement. Heather Knight’s front-page story for Apr. 2’s \u003cem>San Francisco Chronicle — \u003c/em> “\u003ca href=\"http://www.sfchronicle.com/news/article/SF-courts-anything-but-safe-for-some-immigrants-11045155.php\" target=\"_blank\" rel=\"noopener\">SF courts anything but safe for some immigrants\u003c/a>” — is all about establishing a relationship between illegal immigrants and the law. Under the Trump administration those connections will certainly fray more and possibly completely sever. See \u003cem>To the Bone\u003c/em> and you’ll want to fight against that ever happening, even though it already is and has been for a long time.\u003c/p>\n\u003cp>At the end of the play there is a call to not forget. But it seems more wistful than possible. How can we remember those who are outside the law? And who would have guessed that there is a state of being beyond injustice, and that next to its horrors injustice would seem a fairly mild sentence?\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=\"Q.Logo.Break\" 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘To the Bone’ runs through Sunday, Apr. 30 at the Brooklyn Preserve in Oakland. For tickets and information \u003ca href=\"http://www.ubuntutheaterproject.com/to-the-bone/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 783,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705031035,
"excerpt": "Ubuntu Theater's must-see production of a new play by Lisa Ramirez is not only a vicious melodrama about the lives of a group of immigrant women working in a New York poultry factory, but also a philosophical disquisition. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ubuntu Theater's must-see production of a new play by Lisa Ramirez is not only a vicious melodrama about the lives of a group of immigrant women working in a New York poultry factory, but also a philosophical disquisition. ",
"title": "'To the Bone' Explores Workers' Lives Outside the Law | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'To the Bone' Explores Workers' Lives Outside the Law",
"datePublished": "2017-04-05T17:00:14-07:00",
"dateModified": "2024-01-11T19:43:55-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "to-the-bone-explores-workers-lives-outside-the-law",
"status": "publish",
"sticky": false,
"path": "/arts/13000457/to-the-bone-explores-workers-lives-outside-the-law",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lisa Ramirez’s \u003cem>To The Bone\u003c/em> is not only a vicious melodrama about the lives of a group of immigrant women working in a New York poultry factory, but also a philosophical disquisition. The disquisition is just as vicious as the melodrama, showing what happens to people when they live outside the law. And by outside the law, I don’t mean that the workers are undocumented — though most of them are — or that their illegal status makes them ersatz criminals. No, Ramirez is after something more elusive and terrifying: a world where the law does not exist, and, paradoxically, is always in full force.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The daring \u003ca href=\"http://www.ubuntutheaterproject.com/to-the-bone/\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a> is always flirting with some combination of high art theater, rip-out-the-gut tales of woe, and liberationist politics. Heady, artsy, and visceral, the company provides a much-needed antidote to the toothless posturing that passes for political theater in the Bay Area. In \u003cem>To the Bone\u003c/em>, director Michael Socrates Moran and his excellent cast plunge into Ramirez’s unsettling slice of everyday nightmare with a subtle and sure step.\u003c/p>\n\u003cp>Strikingly, our first glimpse of this hell is one of simple routine. A house full of women struggles to maintain what seems to be an unending cycle of work, home, food, sleep, and work again. It’s close to an animal’s life, though these animals are cursed with dreams and imagination.\u003c/p>\n\u003cfigure id=\"attachment_13004063\" class=\"wp-caption aligncenter\" style=\"max-width: 485px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13004063\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Tothebone1b-e1491358238832.jpg\" alt=\"(L to R) Olga (Lisa Ramirez) and her daughter Lupe (Juliana Aiden) try to imagine the future in the Ubuntu Theater Project's production of 'To the Bone' by Lisa Ramirez.\" width=\"485\" height=\"270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Tothebone1b-e1491358238832.jpg 485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Tothebone1b-e1491358238832-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Tothebone1b-e1491358238832-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Tothebone1b-e1491358238832-375x209.jpg 375w\" sizes=\"(max-width: 485px) 100vw, 485px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Olga (Lisa Ramirez) and her daughter Lupe (Juliana Aiden) try to imagine the future in the Ubuntu Theater Project’s production of ‘To the Bone’ by Lisa Ramirez. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The haunted Juana (a terrific and subtle Sarita Ocón) falls into a fugue state every night, reliving the moment before her daughter’s disappearance at the border. Olga, the only one with a green card, is bitter and ready for revolt, while desperately trying to guide her skater punk daughter Lupe to a better life. And the good-natured Reina’s front of cautious optimism hides a brutal realist who cannot and will not imagine escape.\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>As in both drama and life, all you need is one slight change to upset the established order. And so, like magic, Reina’s angelic niece Carmen appears. The women house her, get her a job at the factory, and even introduce her to Jorge, a young man of exceptional kindness. Carmen’s mere presence, virginal and full of hope, subtly changes the dynamics of the house, and, fleetingly, what seems possible. And that’s when the real terror begins.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=Nv7sRPNI3Fc\">https://www.youtube.com/watch?v=Nv7sRPNI3Fc\u003c/a>\u003c/p>\n\u003cp>What Ramirez makes clear is that when you have no recourse to the law — even if you’re beautiful, kind, and innocent — the law turns into an arbitrary, destructive force. It is both unfocused and annihilating. By turning that insight into drama, \u003cem>To the Bone\u003c/em> demands that the invisible world of immigrant workers be seen: not as injustice — that means you’re in the system — but instead as the reduction of life to its barest state.\u003c/p>\n\u003cp>You can feel the absence of an ordered world in the way the villainous owner of the poultry plant, Daryl (an off-handed and terrifying William Hartfield), feels put upon when confronted with his crimes. Or the way the women scream at Olga and call her a “beast” for still believing in any semblance of the law. Or the way Carmen is in constant danger simply by attracting attention.\u003c/p>\n\u003cp>To say that these issues are in the news would be an understatement. Heather Knight’s front-page story for Apr. 2’s \u003cem>San Francisco Chronicle — \u003c/em> “\u003ca href=\"http://www.sfchronicle.com/news/article/SF-courts-anything-but-safe-for-some-immigrants-11045155.php\" target=\"_blank\" rel=\"noopener\">SF courts anything but safe for some immigrants\u003c/a>” — is all about establishing a relationship between illegal immigrants and the law. Under the Trump administration those connections will certainly fray more and possibly completely sever. See \u003cem>To the Bone\u003c/em> and you’ll want to fight against that ever happening, even though it already is and has been for a long time.\u003c/p>\n\u003cp>At the end of the play there is a call to not forget. But it seems more wistful than possible. How can we remember those who are outside the law? And who would have guessed that there is a state of being beyond injustice, and that next to its horrors injustice would seem a fairly mild sentence?\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=\"Q.Logo.Break\" 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘To the Bone’ runs through Sunday, Apr. 30 at the Brooklyn Preserve in Oakland. For tickets and information \u003ca href=\"http://www.ubuntutheaterproject.com/to-the-bone/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13000457/to-the-bone-explores-workers-lives-outside-the-law",
"authors": [
"8668"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1698",
"arts_1118",
"arts_596"
],
"featImg": "arts_13004062",
"label": "arts"
},
"arts_12978132": {
"type": "posts",
"id": "arts_12978132",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12978132",
"score": null,
"sort": [
1490920106000
]
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-a-modern-marching-band-recalling-a-racial-injustice-and-getting-wired",
"title": "Cy and David's Picks: A Modern Marching Band, Recalling a Racial Injustice, and Getting Wired",
"publishDate": 1490920106,
"format": "audio",
"headTitle": "Cy and David’s Picks: A Modern Marching Band, Recalling a Racial Injustice, and Getting Wired | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X2b8_eZtjvo\u003c/p>\n\u003cp>\u003cstrong>March 31-April 3\u003c/strong>: Bach composed a number of motets for double chorus, always for special occasions, and the \u003ca href=\"http://www.americanbach.org/index.html\" target=\"_blank\" rel=\"noopener\">American Bach Soloists \u003c/a>(ABS) have programmed a full evening of these ethereal choral works. Music director Jeffrey Thomas led the ensemble in two of these pieces,”Singet dem Herrn ein neues Lied” and “Fürchte dich nicht, ich bin bei dir” at the 2012 Berkeley Festival & Exhibition, but ABS has added works for double chorus they say have only recently been attributed to Bach, which sounds like a promise of musical discovery. Details for the concert in Belvedere, Berkeley, San Francisco, and Davis \u003ca href=\"http://www.americanbach.org/2017-04.html\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6jWBCnIHe9A\u003c/p>\n\u003cp>\u003cstrong>March 30-April 23:\u003c/strong> \u003ca href=\"http://www.telegraph.co.uk/theatre/what-to-see/needles-and-opium-miles-davis-meets-jean-cocteau--review/\" target=\"_blank\" rel=\"noopener\">\u003cem>Needles and Opium\u003c/em>\u003c/a> is a play about \u003ca href=\"https://www.theguardian.com/music/2006/may/25/jazz\" target=\"_blank\" rel=\"noopener\">Miles Davis and his love for French singer Juliette Greco \u003c/a>and heroin in the Paris of 1949, as well as movie director \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Cocteau\" target=\"_blank\" rel=\"noopener\">Jean Cocteau\u003c/a>‘s dalliance with New York City and opium the same year. It’s an odd concept, but exactly what we might expect from French-Canadian theater director \u003ca href=\"http://lacaserne.net/index2.php/robertlepage/\" target=\"_blank\" rel=\"noopener\">Robert Lepage\u003c/a>. This revival of Lepage’s 1989 piece will be performed in a cube hanging over the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>‘s Geary Stage with an acrobat playing Miles Davis. Lepage’s work, at its best, is always a dazzling, disorienting puzzle. Details for the San Francisco run are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/needles_and_opium.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12978571\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12978571\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-800x496.jpg\" alt=\"The Wooster Group presents ‘The Town Hall‘ Affair, the recreation of a seminal debate on feminism from 1971\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-375x233.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Wooster Group presents ‘The Town Hall‘ Affair, the recreation of a seminal debate on feminism from 1971 \u003ccite>(Photo: Courtesy of The Wooster Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 6-16\u003c/strong>: In \u003cem>The Town Hall Affair, \u003c/em>New York’s \u003ca href=\"http://thewoostergroup.org/blog/\" target=\"_blank\" rel=\"noopener\">The Wooster Group \u003c/a>brings to life a real-life debate from 1971 between the writer \u003ca href=\"https://www.theguardian.com/books/booksblog/2007/nov/13/farewelltonormanmailerase\" target=\"_blank\" rel=\"noopener\">Norman Mailer\u003c/a>, a hardcore macho chauvinist, and some of the biggest names in second wave feminism, including Germaine Greer, Jacqueline Ceballos, and Susan Sontag. The play is based on a documentary about the evening, \u003ca href=\"https://vimeo.com/78950738\" target=\"_blank\" rel=\"noopener\">\u003cem>Town Bloody Hall\u003c/em>\u003c/a>, made under challenging conditions by D.A. Pennebaker and Chris Hegedus. The theatrical result should be maddening and enlightening. Details for the run of \u003cem>Town Hall Affair \u003c/em>at Z Space in San Francisco are\u003ca href=\"http://www.zspace.org/the-town-hall-affair/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zw7DfFVga5Y\u003c/p>\n\u003cp>\u003cstrong>April 1 & 2\u003c/strong>: \u003ca href=\"http://www.muccapazza.com/\" target=\"_blank\" rel=\"noopener\">Mucca Pazza \u003c/a>is a 20 plus member ensemble based in Chicago that gleefully deconstructs the whole idea of a marching band. As you can see and hear in the video above, they do it with lots of brass, drums and cheerleaders. The music is a blend of gypsy jazz and New Orleans funk. What could be bad? Details for Mucca Pazza’s performance at the Mondavi Center in Davis on Saturday are \u003ca href=\"https://www.mondaviarts.org/event/2016-17/mucca-pazza\" target=\"_blank\" rel=\"noopener\">here,\u003c/a> and details for their Sunday show at San Francisco’s Bottom of the Hill are \u003ca href=\"http://www.muccapazza.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12978570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12978570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-800x508.jpg\" alt=\"A photo by Dorothea Lange from 'Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-960x609.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-520x330.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo by Dorothea Lange from ‘Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco \u003ccite>(Photo: Dorothea Lange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 1-March 2018\u003c/strong>: On April 1, 75 years ago, the U.S. began registering and forcing Japanese Americans on the West Coast behind barbed wire at incarceration camps like Manzanar and Tule Lake. It’s mostly forgotten today, but the Presidio’s presiding officer at the time, General John Dewitt, oversaw the internment process. To commemorate that terrible breach of American values, The Presidio is opening the show \u003cem>Exclusion: The Presidio’s Role in World War II Japanese American Incarceration.\u003c/em>The Presidio’s director of heritage programs, Eric Blind, says one thing the show explores is the fact that fabricated news stories are an old tactic. “There were fake news stories going around saying that some of the Pearl Harbor bombers were wearing American university graduation rings, and this idea that there was a fifth column inside the United States ready to be spies and saboteurs from the Japanese American community,” Blind says. “None of these things were found to be true. But it did lead to bad decisions.” Details for \u003cem>Exclusion\u003c/em> at the Presidio Officers’ Club are \u003ca href=\"http://www.presidio.gov/officers-club/exhibitions/special-exhibition-exclusion\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://vimeo.com/208527770\u003c/p>\n\u003cp>\u003cstrong>April 5-19:\u003c/strong> You could simply disappear into the dark for days on end at the \u003cem>60th San Francisco International Film Festival\u003c/em>. It’s a rite of spring with its 120 or so showings of features, documentaries, and cartoons. There are also seminars, like one on on \u003cem>Vertigo\u003c/em> and another on \u003cem>Citizen Kane\u003c/em>, both hosted by San Francisco film historian \u003ca href=\"https://en.wikipedia.org/wiki/David_Thomson_(film_critic)\" target=\"_blank\" rel=\"noopener\">David Thomson\u003c/a>. Local highlights include Peter Bratt with his documentary \u003cem>Dolores\u003c/em> about farm worker leader Dolores Huerta, and Peter Nicks’\u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-force#.WN2UDm8rKJA\" target=\"_blank\" rel=\"noopener\">The Force\u003c/a>, \u003c/em>a documentary about the Oakland Police Department. Details for the SF International Film Fest are \u003ca href=\"http://www.sffilm.org/festival\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ytXTtXSgpPc\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 3:\u003c/strong> The band Wire was born 40 years ago in London England, and they sound as tough and intense as they ever did on their new album \u003cem>Silver/Lead\u003c/em>. They’re formalists in a way, sticking to a classic, guitar-heavy sound. Yet they always find new things to say. The three old guys — Robert Gray on drums, Graham Lewis on bass guitar, and Colin Newman on guitar — are as punk as ever, and Matt Simms, the new guy since 2010, adds more awesome guitar work. Details on this chance to hear rock history at Slim’s on Monday are \u003ca href=\"http://www.slimspresents.com/event/wire-slims/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\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=\"Q.Logo.Break\" 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Do List spotlights the San Francisco Film Fest, a feminist debate and punk pioneers 40 years on",
"status": "publish",
"parent": 0,
"modified": 1726785687,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 939
},
"headData": {
"title": "Cy and David's Picks: A Modern Marching Band, Recalling a Racial Injustice, and Getting Wired | KQED",
"description": "The Do List spotlights the San Francisco Film Fest, a feminist debate and punk pioneers 40 years on",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: A Modern Marching Band, Recalling a Racial Injustice, and Getting Wired",
"datePublished": "2017-03-30T17:28:26-07:00",
"dateModified": "2024-09-19T15:41:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "http:www.kqed.org/.stream/anon/radio//2017/04/TheDoListonBeautifulBachARacialInjusticeGettingWired.mp3",
"guestFields": "0",
"sticky": false,
"path": "/arts/12978132/cy-and-davids-picks-a-modern-marching-band-recalling-a-racial-injustice-and-getting-wired",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\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/X2b8_eZtjvo'\n title='//www.youtube.com/embed/X2b8_eZtjvo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 31-April 3\u003c/strong>: Bach composed a number of motets for double chorus, always for special occasions, and the \u003ca href=\"http://www.americanbach.org/index.html\" target=\"_blank\" rel=\"noopener\">American Bach Soloists \u003c/a>(ABS) have programmed a full evening of these ethereal choral works. Music director Jeffrey Thomas led the ensemble in two of these pieces,”Singet dem Herrn ein neues Lied” and “Fürchte dich nicht, ich bin bei dir” at the 2012 Berkeley Festival & Exhibition, but ABS has added works for double chorus they say have only recently been attributed to Bach, which sounds like a promise of musical discovery. Details for the concert in Belvedere, Berkeley, San Francisco, and Davis \u003ca href=\"http://www.americanbach.org/2017-04.html\" target=\"_blank\" rel=\"noopener\">are 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/6jWBCnIHe9A'\n title='//www.youtube.com/embed/6jWBCnIHe9A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 30-April 23:\u003c/strong> \u003ca href=\"http://www.telegraph.co.uk/theatre/what-to-see/needles-and-opium-miles-davis-meets-jean-cocteau--review/\" target=\"_blank\" rel=\"noopener\">\u003cem>Needles and Opium\u003c/em>\u003c/a> is a play about \u003ca href=\"https://www.theguardian.com/music/2006/may/25/jazz\" target=\"_blank\" rel=\"noopener\">Miles Davis and his love for French singer Juliette Greco \u003c/a>and heroin in the Paris of 1949, as well as movie director \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Cocteau\" target=\"_blank\" rel=\"noopener\">Jean Cocteau\u003c/a>‘s dalliance with New York City and opium the same year. It’s an odd concept, but exactly what we might expect from French-Canadian theater director \u003ca href=\"http://lacaserne.net/index2.php/robertlepage/\" target=\"_blank\" rel=\"noopener\">Robert Lepage\u003c/a>. This revival of Lepage’s 1989 piece will be performed in a cube hanging over the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>‘s Geary Stage with an acrobat playing Miles Davis. Lepage’s work, at its best, is always a dazzling, disorienting puzzle. Details for the San Francisco run are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/needles_and_opium.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12978571\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12978571\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-800x496.jpg\" alt=\"The Wooster Group presents ‘The Town Hall‘ Affair, the recreation of a seminal debate on feminism from 1971\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-375x233.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wooster-Town-Hall-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Wooster Group presents ‘The Town Hall‘ Affair, the recreation of a seminal debate on feminism from 1971 \u003ccite>(Photo: Courtesy of The Wooster Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 6-16\u003c/strong>: In \u003cem>The Town Hall Affair, \u003c/em>New York’s \u003ca href=\"http://thewoostergroup.org/blog/\" target=\"_blank\" rel=\"noopener\">The Wooster Group \u003c/a>brings to life a real-life debate from 1971 between the writer \u003ca href=\"https://www.theguardian.com/books/booksblog/2007/nov/13/farewelltonormanmailerase\" target=\"_blank\" rel=\"noopener\">Norman Mailer\u003c/a>, a hardcore macho chauvinist, and some of the biggest names in second wave feminism, including Germaine Greer, Jacqueline Ceballos, and Susan Sontag. The play is based on a documentary about the evening, \u003ca href=\"https://vimeo.com/78950738\" target=\"_blank\" rel=\"noopener\">\u003cem>Town Bloody Hall\u003c/em>\u003c/a>, made under challenging conditions by D.A. Pennebaker and Chris Hegedus. The theatrical result should be maddening and enlightening. Details for the run of \u003cem>Town Hall Affair \u003c/em>at Z Space in San Francisco are\u003ca href=\"http://www.zspace.org/the-town-hall-affair/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/Zw7DfFVga5Y'\n title='//www.youtube.com/embed/Zw7DfFVga5Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 1 & 2\u003c/strong>: \u003ca href=\"http://www.muccapazza.com/\" target=\"_blank\" rel=\"noopener\">Mucca Pazza \u003c/a>is a 20 plus member ensemble based in Chicago that gleefully deconstructs the whole idea of a marching band. As you can see and hear in the video above, they do it with lots of brass, drums and cheerleaders. The music is a blend of gypsy jazz and New Orleans funk. What could be bad? Details for Mucca Pazza’s performance at the Mondavi Center in Davis on Saturday are \u003ca href=\"https://www.mondaviarts.org/event/2016-17/mucca-pazza\" target=\"_blank\" rel=\"noopener\">here,\u003c/a> and details for their Sunday show at San Francisco’s Bottom of the Hill are \u003ca href=\"http://www.muccapazza.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12978570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12978570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-800x508.jpg\" alt=\"A photo by Dorothea Lange from 'Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-960x609.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138-520x330.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/EXCLUSION_001-Lange-Order-No-e1490913891138.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo by Dorothea Lange from ‘Exclusion: The Presidio’s Role in World War II Japanese American Incarceration‘ at the Presidio of San Francisco \u003ccite>(Photo: Dorothea Lange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 1-March 2018\u003c/strong>: On April 1, 75 years ago, the U.S. began registering and forcing Japanese Americans on the West Coast behind barbed wire at incarceration camps like Manzanar and Tule Lake. It’s mostly forgotten today, but the Presidio’s presiding officer at the time, General John Dewitt, oversaw the internment process. To commemorate that terrible breach of American values, The Presidio is opening the show \u003cem>Exclusion: The Presidio’s Role in World War II Japanese American Incarceration.\u003c/em>The Presidio’s director of heritage programs, Eric Blind, says one thing the show explores is the fact that fabricated news stories are an old tactic. “There were fake news stories going around saying that some of the Pearl Harbor bombers were wearing American university graduation rings, and this idea that there was a fifth column inside the United States ready to be spies and saboteurs from the Japanese American community,” Blind says. “None of these things were found to be true. But it did lead to bad decisions.” Details for \u003cem>Exclusion\u003c/em> at the Presidio Officers’ Club are \u003ca href=\"http://www.presidio.gov/officers-club/exhibitions/special-exhibition-exclusion\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "vimeoLink",
"attributes": {
"named": {
"vimeoId": "208527770"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>April 5-19:\u003c/strong> You could simply disappear into the dark for days on end at the \u003cem>60th San Francisco International Film Festival\u003c/em>. It’s a rite of spring with its 120 or so showings of features, documentaries, and cartoons. There are also seminars, like one on on \u003cem>Vertigo\u003c/em> and another on \u003cem>Citizen Kane\u003c/em>, both hosted by San Francisco film historian \u003ca href=\"https://en.wikipedia.org/wiki/David_Thomson_(film_critic)\" target=\"_blank\" rel=\"noopener\">David Thomson\u003c/a>. Local highlights include Peter Bratt with his documentary \u003cem>Dolores\u003c/em> about farm worker leader Dolores Huerta, and Peter Nicks’\u003cem>\u003ca href=\"http://www.sffilm.org/festival/lineup/the-force#.WN2UDm8rKJA\" target=\"_blank\" rel=\"noopener\">The Force\u003c/a>, \u003c/em>a documentary about the Oakland Police Department. Details for the SF International Film Fest are \u003ca href=\"http://www.sffilm.org/festival\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ytXTtXSgpPc'\n title='//www.youtube.com/embed/ytXTtXSgpPc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 3:\u003c/strong> The band Wire was born 40 years ago in London England, and they sound as tough and intense as they ever did on their new album \u003cem>Silver/Lead\u003c/em>. They’re formalists in a way, sticking to a classic, guitar-heavy sound. Yet they always find new things to say. The three old guys — Robert Gray on drums, Graham Lewis on bass guitar, and Colin Newman on guitar — are as punk as ever, and Matt Simms, the new guy since 2010, adds more awesome guitar work. Details on this chance to hear rock history at Slim’s on Monday are \u003ca href=\"http://www.slimspresents.com/event/wire-slims/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\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=\"Q.Logo.Break\" 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12978132/cy-and-davids-picks-a-modern-marching-band-recalling-a-racial-injustice-and-getting-wired",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_235",
"arts_75",
"arts_967"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596",
"arts_626"
],
"featImg": "arts_12978567",
"label": "arts_140"
},
"arts_12969040": {
"type": "posts",
"id": "arts_12969040",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12969040",
"score": null,
"sort": [
1490799652000
]
},
"guestAuthors": [],
"slug": "the-tinder-opera-creators-hope-you-swipe-right-on-online-opera",
"title": "'The Tinder Opera' Creators Hope you Swipe Right on Online Opera",
"publishDate": 1490799652,
"format": "standard",
"headTitle": "‘The Tinder Opera’ Creators Hope you Swipe Right on Online Opera | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>The first opera hit the stage over 400 years ago. More recently, the art form has been adapted to modern media: In the 1920s and ’30s, operas were written to be performed on the radio, and in 1951, NBC commissioned Gian Carlo Menotti to compose \u003cem>Amahl And The Night Visitors\u003c/em> for television.\u003c/p>\n\u003cp>Now, a company called \u003ca href=\"https://www.therainyparkopera.com/\" target=\"_blank\" rel=\"noopener\">Rainy Park Opera\u003c/a> is creating operas for the internet.\u003c/p>\n\u003cp>The project started over a beer. On one stool: Adam Taylor, a young filmmaker based in Los Angeles. On the other: Scott Joiner, an opera singer working on his doctorate at the Manhattan School of Music.\u003c/p>\n\u003cp>“We had both semi-recently come out of long relationships, and we had both discovered, in our 30s, this dating app [Tinder],” Joiner says. “[It] makes dating so different from when we first started dating, before the millennium.”\u003c/p>\n\u003cp>Joiner composed the music for and sings the lead in “Connection Lost: The Tinder Opera,” an opera about a young man trying to connect through Tinder and failing. His character goes from scene to scene around New York, phone in front of him — just like all the women he finds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taylor, who directed and wrote the screenplay, says that the entire 11-minute soundtrack was recorded first, and the video was shot to fit. That turned out to be very handy for the singers.\u003c/p>\n\u003cp>“They’re holding the phone in the shots, mimicking the Tinder app, and at the same time,\u003cem> \u003c/em>the playback is coming through their phone, so they’re holding it right by their face, they’re able to lip-sync it,” Taylor says. “Then we edit the film and we place the original recorded tracks over the lip-syncing, and put it together that way.”\u003c/p>\n\u003cp>Heidi Waleson, the opera critic for \u003cem>The Wall Street Journal\u003c/em>, says it “felt very millennial.”\u003c/p>\n\u003cp>“It just puts opera in a different medium,” she says. “And since that medium is something that so many people participate in, then why not have opera as a — you know — integral part of that medium?”\u003c/p>\n\u003cp>“The Tinder Opera” is scored for 10 female singers, two male singers, a pair of pianos and a string quartet. Everyone volunteered their services, so the entire budget was just $2,000. After the opera debuted last April on YouTube, a backer offered to pay for a sequel. With a cast dominated by women, Taylor immediately thought of \u003cem>The Bachelor\u003c/em>.\u003c/p>\n\u003cp>“‘The Tinder Opera’\u003cem> \u003c/em>sort of talked about how the phone has devolved our ability to interact on a relationship level,” Taylor says. “The television — or, more specifically, a show like \u003cem>The Bachelor\u003c/em> — has sort of destroyed this idea of marriage, where, you know, two people can meet on a television show, and on the last episode they get married.”\u003c/p>\n\u003cp>Much to Joiner and Taylor’s surprise, Opera Carolina in Charlotte, N.C., staged “The Tinder Opera” this past fall. Next season, they’re doing it again as a double bill with the sequel: “The Bachelor Opera.”\u003c/p>\n\u003cp>“The operas that were written for television didn’t mean that you never saw it in the theater again,” Waleson explains. “The operas that were written for radio didn’t mean you never saw it in the theater again. So, you know, the operas that are purely online — it’s the same thing!”\u003c/p>\n\u003cp>A month after “The Tinder Opera” debuted online, the New York-based ensemble \u003ca href=\"http://experimentsinopera.com/portfolio-item/video-operas/\" target=\"_blank\" rel=\"noopener\">Experiments in Opera\u003c/a> premiered five video works in a theater. And later this spring, a West Coast project called \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">Vireo\u003c/a> will release an episodic opera online and on public television. Scott Joiner is thrilled by the activity.\u003c/p>\n\u003cp>“We’re all trying to integrate this old singing art form with a new visual film, television medium,” Joiner says. “But the results of the few people doing it are wildly different.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Joiner and Taylor’s next work will be … what else? “L’Opera di Facebook.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Tinder+Opera%27+Creators+Hope+You+Swipe+Right+On+Online+Opera&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "'Connection Lost: The Tinder Opera' is an 11-minute video dramatizing a young man's quest for love via the popular dating app. It marks an effort to adapt a 400-year-old art form to modern media.",
"status": "publish",
"parent": 0,
"modified": 1726770920,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 715
},
"headData": {
"title": "'The Tinder Opera' Creators Hope you Swipe Right on Online Opera | KQED",
"description": "'Connection Lost: The Tinder Opera' is an 11-minute video dramatizing a young man's quest for love via the popular dating app. It marks an effort to adapt a 400-year-old art form to modern media.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'The Tinder Opera' Creators Hope you Swipe Right on Online Opera",
"datePublished": "2017-03-29T08:00:52-07:00",
"dateModified": "2024-09-19T11:35:20-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Naomi Lewin",
"nprImageAgency": "YouTube",
"nprStoryId": "521394763",
"nprApiLink": "http://api.npr.org/query?id=521394763&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/deceptivecadence/2017/03/28/521394763/the-tinder-opera-creators-hope-you-swipe-right-on-online-opera?ft=nprml&f=521394763",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 28 Mar 2017 17:55:00 -0400",
"nprStoryDate": "Tue, 28 Mar 2017 16:32:00 -0400",
"nprLastModifiedDate": "Tue, 28 Mar 2017 17:59:22 -0400",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/03/20170328_atc_the_tinder_opera_creators_hope_you_swipe_right_on_online_opera.mp3?orgId=1&topicId=1039&d=338&p=2&story=521394763&t=progseg&e=521761226&seg=19&ft=nprml&f=521394763",
"nprAudioM3u": "http://api.npr.org/m3u/1521823567-33fc9c.m3u?orgId=1&topicId=1039&d=338&p=2&story=521394763&t=progseg&e=521761226&seg=19&ft=nprml&f=521394763",
"path": "/arts/12969040/the-tinder-opera-creators-hope-you-swipe-right-on-online-opera",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/03/20170328_atc_the_tinder_opera_creators_hope_you_swipe_right_on_online_opera.mp3?orgId=1&topicId=1039&d=338&p=2&story=521394763&t=progseg&e=521761226&seg=19&ft=nprml&f=521394763",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first opera hit the stage over 400 years ago. More recently, the art form has been adapted to modern media: In the 1920s and ’30s, operas were written to be performed on the radio, and in 1951, NBC commissioned Gian Carlo Menotti to compose \u003cem>Amahl And The Night Visitors\u003c/em> for television.\u003c/p>\n\u003cp>Now, a company called \u003ca href=\"https://www.therainyparkopera.com/\" target=\"_blank\" rel=\"noopener\">Rainy Park Opera\u003c/a> is creating operas for the internet.\u003c/p>\n\u003cp>The project started over a beer. On one stool: Adam Taylor, a young filmmaker based in Los Angeles. On the other: Scott Joiner, an opera singer working on his doctorate at the Manhattan School of Music.\u003c/p>\n\u003cp>“We had both semi-recently come out of long relationships, and we had both discovered, in our 30s, this dating app [Tinder],” Joiner says. “[It] makes dating so different from when we first started dating, before the millennium.”\u003c/p>\n\u003cp>Joiner composed the music for and sings the lead in “Connection Lost: The Tinder Opera,” an opera about a young man trying to connect through Tinder and failing. His character goes from scene to scene around New York, phone in front of him — just like all the women he finds.\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>Taylor, who directed and wrote the screenplay, says that the entire 11-minute soundtrack was recorded first, and the video was shot to fit. That turned out to be very handy for the singers.\u003c/p>\n\u003cp>“They’re holding the phone in the shots, mimicking the Tinder app, and at the same time,\u003cem> \u003c/em>the playback is coming through their phone, so they’re holding it right by their face, they’re able to lip-sync it,” Taylor says. “Then we edit the film and we place the original recorded tracks over the lip-syncing, and put it together that way.”\u003c/p>\n\u003cp>Heidi Waleson, the opera critic for \u003cem>The Wall Street Journal\u003c/em>, says it “felt very millennial.”\u003c/p>\n\u003cp>“It just puts opera in a different medium,” she says. “And since that medium is something that so many people participate in, then why not have opera as a — you know — integral part of that medium?”\u003c/p>\n\u003cp>“The Tinder Opera” is scored for 10 female singers, two male singers, a pair of pianos and a string quartet. Everyone volunteered their services, so the entire budget was just $2,000. After the opera debuted last April on YouTube, a backer offered to pay for a sequel. With a cast dominated by women, Taylor immediately thought of \u003cem>The Bachelor\u003c/em>.\u003c/p>\n\u003cp>“‘The Tinder Opera’\u003cem> \u003c/em>sort of talked about how the phone has devolved our ability to interact on a relationship level,” Taylor says. “The television — or, more specifically, a show like \u003cem>The Bachelor\u003c/em> — has sort of destroyed this idea of marriage, where, you know, two people can meet on a television show, and on the last episode they get married.”\u003c/p>\n\u003cp>Much to Joiner and Taylor’s surprise, Opera Carolina in Charlotte, N.C., staged “The Tinder Opera” this past fall. Next season, they’re doing it again as a double bill with the sequel: “The Bachelor Opera.”\u003c/p>\n\u003cp>“The operas that were written for television didn’t mean that you never saw it in the theater again,” Waleson explains. “The operas that were written for radio didn’t mean you never saw it in the theater again. So, you know, the operas that are purely online — it’s the same thing!”\u003c/p>\n\u003cp>A month after “The Tinder Opera” debuted online, the New York-based ensemble \u003ca href=\"http://experimentsinopera.com/portfolio-item/video-operas/\" target=\"_blank\" rel=\"noopener\">Experiments in Opera\u003c/a> premiered five video works in a theater. And later this spring, a West Coast project called \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">Vireo\u003c/a> will release an episodic opera online and on public television. Scott Joiner is thrilled by the activity.\u003c/p>\n\u003cp>“We’re all trying to integrate this old singing art form with a new visual film, television medium,” Joiner says. “But the results of the few people doing it are wildly different.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Joiner and Taylor’s next work will be … what else? “L’Opera di Facebook.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Tinder+Opera%27+Creators+Hope+You+Swipe+Right+On+Online+Opera&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12969040/the-tinder-opera-creators-hope-you-swipe-right-on-online-opera",
"authors": [
"byline_arts_12969040"
],
"categories": [
"arts_967"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_12969041",
"label": "arts_137"
},
"arts_12946318": {
"type": "posts",
"id": "arts_12946318",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12946318",
"score": null,
"sort": [
1490370864000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1490370864,
"format": "image",
"title": "Should You *Really* Pay $600 to See 'Hamilton' in San Francisco?",
"headTitle": "Should You *Really* Pay $600 to See ‘Hamilton’ in San Francisco? | KQED",
"content": "\u003cp>Let’s get this out of the way: \u003cem>Hamilton\u003c/em>, which opens in San Francisco this week, is way more than a musical at this point. \u003c/p>\n\u003cp>The \u003cem>Hamilton\u003c/em> that barreled into town last night at the Orpheum Theatre for a four-month touring run is a cultural phenomenon, a juggernaut, an 18-wheeler of theater. Ticket sales in San Francisco caused the largest stampede of people willing to part with their hard-earned money for a musical in my lifetime. If you’re not the one percent or the very, very lucky, your only hope of seeing the show that dominated both \u003ca href=\"http://www.broadway.com/buzz/185131/hamilton-dominates-2016-tony-awards-but-just-short-of-record-complete-list-of-winners/\" target=\"_blank\" rel=\"noopener\">the Tonys\u003c/a> and \u003ca href=\"http://www.cnn.com/2016/11/20/politics/donald-trump-hamilton-feud/\" target=\"_blank\" rel=\"noopener\">the President\u003c/a> is the resale market, with single tickets averaging a whopping $350 for nosebleeds and over $1,000 for premium seats. \u003c/p>\n\u003cp>For you, the reader hoping to see the show, there’s really only one question hanging over this whole business: Is \u003cem>Hamilton\u003c/em> really worth several hundred dollars?\u003c/p>\n\u003cp>I saw the \u003cem>Hamilton\u003c/em>’s \u003ca href=\"https://twitter.com/gmeline/status/845156941038968834\" target=\"_blank\" rel=\"noopener\">star-studded\u003c/a> opening preview at the Orpheum last night, and I’ll be straight with you: it’s great, and far exceeded my expectations. Whether or not it’s worth a sizable chunk of your paycheck depends on a few factors — not the least of which is the total size of your paycheck. (More on that later.) \u003c/p>\n\u003cp>Let’s run down some pros and cons.\u003c/p>\n\u003cfigure id=\"attachment_12946728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/HamiltonSisters-800x450.jpg\" alt=\"Solea Pfeiffer, Emmy Raver-Lampman and Amber Iman in the 'Hamilton' national tour, currently running at SHN Orpheum Theatre in San Francisco.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12946728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solea Pfeiffer, Emmy Raver-Lampman and Amber Iman in the ‘Hamilton’ national tour, currently running at SHN Orpheum Theatre in San Francisco. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Yes, You Should Pay $600 to See ‘Hamilton’ in San Francisco If:\u003c/h3>\n\u003cp>\u003cstrong>1. You genuinely love the soundtrack.\u003c/strong> This is obvious, but it addresses a major problem. Many people who see this show are going just to say they saw \u003cem>Hamilton\u003c/em>. (Don’t do this.) If you truly love the soundtrack, go for it. You’ll be able to sing along with King George III’s soft-rock comedy, scream with the rest of the fans at the introductory shut-off-your-cell-phones announcement (yes, people cheered for it Thursday night), and whoop it up to every major character’s grand entrance. If you’re a diehard, it’s a communal celebration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>2. History is your jam and you don’t sweat the details.\u003c/strong> If you’re one of those people who can’t see a historical epic without raising a finger and saying, “Yes, but…” — look elsewhere. There’s a lot to love in \u003cem>Hamilton\u003c/em>, but if you’re an American history buff, you’ll inevitably call a few things out as exaggerated or glossed over. If you’re happy to be taken for a ride and fact-check the plot afterward, you’re good.\u003c/p>\n\u003cp>\u003cstrong>3. You can be patient for a show to get going.\u003c/strong> Honestly, for the first handful of songs, \u003cem>Hamilton\u003c/em> is just plain silly. Really. Guys in 18th-century getups shouting “Layyyydies!” and quoting Grandmaster Flash in the same breath as Gilbert & Sullivan? Songs that seem like lectures from your professor? Yeah. Hang in there until the Schuyler Sisters come on stage. If you get to “Satisfied” or “Wait For It” and you’re not invested in Hamilton’s possibilities — he’s got an important job with George Washington, he’s married, he has his whole life ahead of him — you’ve probably picked the wrong show. \u003c/p>\n\u003cfigure id=\"attachment_12946930\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-800x1200.jpg\" alt=\"Michael Luwoye as Alexander Hamilton in the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-12946930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Luwoye as Alexander Hamilton in the ‘Hamilton’ national tour, currently at SHN Orpheum Theatre in San Francisco. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>4. You like Pentatonix.\u003c/strong> Bear with me, but I swear that everything lovable and cute about \u003cem>Hamilton\u003c/em> springs from the same seed that birthed cheeky, clever, inventive \u003cem>a capella\u003c/em> groups. (See also: Waldorf schools, putting celery in jello, singing at campouts, driving a Subaru wagon.)\u003c/p>\n\u003cp>\u003cstrong>5. You think interesting women are important.\u003c/strong> For as much turmoil as Hamilton, Madison, Washington and Jefferson deal with in the show, there’s not a lot of emotional complexity to their characters. The women appear much more multidimensional than the men, who show the most heart when under the women’s spell. Cast-wise, Emmy Raver-Lampman as Angelica and Solea Pfeiffer as Eliza are both incredible, and the closing number gives additional depth to their roles.\u003c/p>\n\u003cp>\u003cstrong>6. You love a good dramatic climax.\u003c/strong> You know the scene you’re waiting for in \u003cem>Hamilton\u003c/em>? The part you learned in eighth grade U.S. History class? The thing that should only take a split second? It’s a masterful display of set design, choreography, writing, blocking, lighting — I can’t stop thinking about it.\u003c/p>\n\u003cp>\u003cstrong>7. You just plain have a lot of money.\u003c/strong> Why not, right? Heck, Alexander Hamilton did helm the first Treasury Department, after all. (But here’s my request: if you’re in a position to do so, also donate tickets to some low-income high-school drama program for students who know every line of “Ten Duel Commandments” but can’t afford to go.)\u003c/p>\n\u003cp>That about sums up the pros. And now…\u003c/p>\n\u003cfigure id=\"attachment_12946932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/HamiltonAction-800x450.jpg\" alt=\"The 'Hamilton' company of the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco. (Joan Marcus)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12946932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hamilton’ company of the ‘Hamilton’ national tour, currently at SHN Orpheum Theatre in San Francisco. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>You Should Not Pay $600 to See ‘Hamilton’ in San Francisco If:\u003c/h3>\n\u003cp>\u003cstrong>1. You are a hardcore rap fan.\u003c/strong> I can’t stress this enough. Hamilton’s songs are the Disney version of rap music. They’re simple, with uninteresting beats, and though the lyrical wordplay is clever, the meter and flow don’t change up much because it was all written by the same person. This, along with its crystal-clear enunciation, could be a function of the theater context. But so much of the art of rapping is developing one’s own personal style, and in \u003cem>Hamilton\u003c/em>, everyone has the same style. (If you’re looking for the sonic and lexical explorations by rap music’s recent innovators like Young Thug, Future and Migos, you won’t find them.) Even if your love of rap music is limited to the 1990s, this will basically still feel like rap music for people who don’t like rap music. \u003c/p>\n\u003cp>\u003cstrong>2. You fall asleep in the second act easily.\u003c/strong> OK, OK. I know you saw the big ol’ reprise-every-song-in-medley-form-and-bring-out-the-whole-cast finale of Act I coming from a mile away. But my friend! The second act is where it’s at! The first act starts to get going about 2/3 of the way in, but everything the first act lacks — emotional resonance, complex characters, edge-of-your-seat drama — comes in the second act. During “Cabinet Battle #2” I saw a man asleep on his wife’s shoulder and was like, \u003cem>How could anyone be sleeping through this?!\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>3. You’re a stickler about cultural appropriation.\u003c/strong> Most of the show’s laughs come from interjecting overt hip-hop slang, phrases, and dances into the “formal” script. The juxtaposition of the two is low-hanging fruit, but it’s not offensive — unless if you’re protective of black culture being co-opted for a white man’s history lesson on Broadway, and well, that’s basically this whole show. \u003c/p>\n\u003cfigure id=\"attachment_12946933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-800x450.jpg\" alt=\"Amber Iman, Emmy Raver-Lampman and the 'Hamilton' company of the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12946933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amber Iman, Emmy Raver-Lampman and the ‘Hamilton’ company of the ‘Hamilton’ national tour, currently at SHN Orpheum Theatre in San Francisco. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>4. You’re looking for a political message.\u003c/strong> Most of the night’s biggest cheers came from social-commentary one-liners. “Immigrants — we get the job done” is a famous one, but it only occurs once. Another line about women needing to be written into the constitution gets applause. But for all the chatter about \u003ca href=\"https://ww2.kqed.org/arts/2016/11/19/counterpoint-the-theater-should-not-be-a-safe-place/\" target=\"_blank\" rel=\"noopener\">the Broadway cast’s speech to Mike Pence\u003c/a>, and what the show “says” about America, I was not moved to patriotism, or dissent, or to really think about politics much at all. There’s also nothing that overtly speaks to Trump’s America. (Unless you count the line: “Winning was easy, young man — governing’s hard.”) \u003c/p>\n\u003cp>\u003cstrong>5. You can be patient.\u003c/strong> Look, a show like \u003cem>Hamilton\u003c/em>’s not going anywhere in the long term. Wait a few years and it’ll be back in a revival or tour. The way things are going, by that time, a theatrical EDM/dubstep adaptation of the Louisiana Purchase will be all the rage and \u003cem>Hamilton\u003c/em> will cost $60.\u003c/p>\n\u003cp>\u003cstrong>6. You really love Daveed Diggs.\u003c/strong> As Alexander Hamilton, lead actor Michael Luwoye is excellent and workmanlike in filling Lin-Manuel Miranda’s humongous shoes. Joshua Henry as Aaron Burr? Isaiah Johnson as George Washington? All fine. But Jordan Donica plays Thomas Jefferson in a juvenile, clownish fashion, as if director Thomas Kail explicitly asked him to make Jefferson look uncool. (This is exemplified in the way Donica delivers a Notorious B.I.G. line in the cabinet battle, with a seemingly intentional lack of style.) I’m not arguing that the real-life Jefferson was a cool dude, but the portrayal here doesn’t fit. \u003c/p>\n\u003cp>\u003cstrong>7. You’re a set/costume/design nerd.\u003c/strong> The set for Hamilton is essentially static — a balcony on the perimeter, a rotating turntable on stage, and intermittent lighting and props to mix it up. The costumes are perfectly executed but nothing groundbreaking. The cast does a lot with this mostly unchanging landscape, but it’s not going to blow anyone away.\u003c/p>\n\u003cp>So there you have it. Still want to join the wave and be part of theatre history? You’re now armed with all the knowledge you need. The show’s only in town ’til August, so don’t throw away your sh… oh, you know how it goes by now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Hamilton’ runs through Aug. 5, 2017, at SHN Orpheum Theatre. For full details, \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1729,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 25
},
"modified": 1705031139,
"excerpt": "After seeing opening night in San Francisco, we're gonna give it to you straight: 'Hamilton' is great. But is it worth a few Benjamins? Here are your pros and cons.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "After seeing opening night in San Francisco, we're gonna give it to you straight: 'Hamilton' is great. But is it worth a few Benjamins? Here are your pros and cons.",
"title": "Should You *Really* Pay $600 to See 'Hamilton' in San Francisco? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Should You *Really* Pay $600 to See 'Hamilton' in San Francisco?",
"datePublished": "2017-03-24T08:54:24-07:00",
"dateModified": "2024-01-11T19:45:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "should-you-really-pay-600-to-see-hamilton-in-san-francisco",
"status": "publish",
"sticky": false,
"path": "/arts/12946318/should-you-really-pay-600-to-see-hamilton-in-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get this out of the way: \u003cem>Hamilton\u003c/em>, which opens in San Francisco this week, is way more than a musical at this point. \u003c/p>\n\u003cp>The \u003cem>Hamilton\u003c/em> that barreled into town last night at the Orpheum Theatre for a four-month touring run is a cultural phenomenon, a juggernaut, an 18-wheeler of theater. Ticket sales in San Francisco caused the largest stampede of people willing to part with their hard-earned money for a musical in my lifetime. If you’re not the one percent or the very, very lucky, your only hope of seeing the show that dominated both \u003ca href=\"http://www.broadway.com/buzz/185131/hamilton-dominates-2016-tony-awards-but-just-short-of-record-complete-list-of-winners/\" target=\"_blank\" rel=\"noopener\">the Tonys\u003c/a> and \u003ca href=\"http://www.cnn.com/2016/11/20/politics/donald-trump-hamilton-feud/\" target=\"_blank\" rel=\"noopener\">the President\u003c/a> is the resale market, with single tickets averaging a whopping $350 for nosebleeds and over $1,000 for premium seats. \u003c/p>\n\u003cp>For you, the reader hoping to see the show, there’s really only one question hanging over this whole business: Is \u003cem>Hamilton\u003c/em> really worth several hundred dollars?\u003c/p>\n\u003cp>I saw the \u003cem>Hamilton\u003c/em>’s \u003ca href=\"https://twitter.com/gmeline/status/845156941038968834\" target=\"_blank\" rel=\"noopener\">star-studded\u003c/a> opening preview at the Orpheum last night, and I’ll be straight with you: it’s great, and far exceeded my expectations. Whether or not it’s worth a sizable chunk of your paycheck depends on a few factors — not the least of which is the total size of your paycheck. (More on that later.) \u003c/p>\n\u003cp>Let’s run down some pros and cons.\u003c/p>\n\u003cfigure id=\"attachment_12946728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/HamiltonSisters-800x450.jpg\" alt=\"Solea Pfeiffer, Emmy Raver-Lampman and Amber Iman in the 'Hamilton' national tour, currently running at SHN Orpheum Theatre in San Francisco.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12946728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonSisters-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solea Pfeiffer, Emmy Raver-Lampman and Amber Iman in the ‘Hamilton’ national tour, currently running at SHN Orpheum Theatre in San Francisco. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Yes, You Should Pay $600 to See ‘Hamilton’ in San Francisco If:\u003c/h3>\n\u003cp>\u003cstrong>1. You genuinely love the soundtrack.\u003c/strong> This is obvious, but it addresses a major problem. Many people who see this show are going just to say they saw \u003cem>Hamilton\u003c/em>. (Don’t do this.) If you truly love the soundtrack, go for it. You’ll be able to sing along with King George III’s soft-rock comedy, scream with the rest of the fans at the introductory shut-off-your-cell-phones announcement (yes, people cheered for it Thursday night), and whoop it up to every major character’s grand entrance. If you’re a diehard, it’s a communal celebration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>2. History is your jam and you don’t sweat the details.\u003c/strong> If you’re one of those people who can’t see a historical epic without raising a finger and saying, “Yes, but…” — look elsewhere. There’s a lot to love in \u003cem>Hamilton\u003c/em>, but if you’re an American history buff, you’ll inevitably call a few things out as exaggerated or glossed over. If you’re happy to be taken for a ride and fact-check the plot afterward, you’re good.\u003c/p>\n\u003cp>\u003cstrong>3. You can be patient for a show to get going.\u003c/strong> Honestly, for the first handful of songs, \u003cem>Hamilton\u003c/em> is just plain silly. Really. Guys in 18th-century getups shouting “Layyyydies!” and quoting Grandmaster Flash in the same breath as Gilbert & Sullivan? Songs that seem like lectures from your professor? Yeah. Hang in there until the Schuyler Sisters come on stage. If you get to “Satisfied” or “Wait For It” and you’re not invested in Hamilton’s possibilities — he’s got an important job with George Washington, he’s married, he has his whole life ahead of him — you’ve probably picked the wrong show. \u003c/p>\n\u003cfigure id=\"attachment_12946930\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-800x1200.jpg\" alt=\"Michael Luwoye as Alexander Hamilton in the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-12946930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Hamilton.MichaelLuwoye.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Luwoye as Alexander Hamilton in the ‘Hamilton’ national tour, currently at SHN Orpheum Theatre in San Francisco. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>4. You like Pentatonix.\u003c/strong> Bear with me, but I swear that everything lovable and cute about \u003cem>Hamilton\u003c/em> springs from the same seed that birthed cheeky, clever, inventive \u003cem>a capella\u003c/em> groups. (See also: Waldorf schools, putting celery in jello, singing at campouts, driving a Subaru wagon.)\u003c/p>\n\u003cp>\u003cstrong>5. You think interesting women are important.\u003c/strong> For as much turmoil as Hamilton, Madison, Washington and Jefferson deal with in the show, there’s not a lot of emotional complexity to their characters. The women appear much more multidimensional than the men, who show the most heart when under the women’s spell. Cast-wise, Emmy Raver-Lampman as Angelica and Solea Pfeiffer as Eliza are both incredible, and the closing number gives additional depth to their roles.\u003c/p>\n\u003cp>\u003cstrong>6. You love a good dramatic climax.\u003c/strong> You know the scene you’re waiting for in \u003cem>Hamilton\u003c/em>? The part you learned in eighth grade U.S. History class? The thing that should only take a split second? It’s a masterful display of set design, choreography, writing, blocking, lighting — I can’t stop thinking about it.\u003c/p>\n\u003cp>\u003cstrong>7. You just plain have a lot of money.\u003c/strong> Why not, right? Heck, Alexander Hamilton did helm the first Treasury Department, after all. (But here’s my request: if you’re in a position to do so, also donate tickets to some low-income high-school drama program for students who know every line of “Ten Duel Commandments” but can’t afford to go.)\u003c/p>\n\u003cp>That about sums up the pros. And now…\u003c/p>\n\u003cfigure id=\"attachment_12946932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/HamiltonAction-800x450.jpg\" alt=\"The 'Hamilton' company of the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco. (Joan Marcus)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12946932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAction-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hamilton’ company of the ‘Hamilton’ national tour, currently at SHN Orpheum Theatre in San Francisco. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>You Should Not Pay $600 to See ‘Hamilton’ in San Francisco If:\u003c/h3>\n\u003cp>\u003cstrong>1. You are a hardcore rap fan.\u003c/strong> I can’t stress this enough. Hamilton’s songs are the Disney version of rap music. They’re simple, with uninteresting beats, and though the lyrical wordplay is clever, the meter and flow don’t change up much because it was all written by the same person. This, along with its crystal-clear enunciation, could be a function of the theater context. But so much of the art of rapping is developing one’s own personal style, and in \u003cem>Hamilton\u003c/em>, everyone has the same style. (If you’re looking for the sonic and lexical explorations by rap music’s recent innovators like Young Thug, Future and Migos, you won’t find them.) Even if your love of rap music is limited to the 1990s, this will basically still feel like rap music for people who don’t like rap music. \u003c/p>\n\u003cp>\u003cstrong>2. You fall asleep in the second act easily.\u003c/strong> OK, OK. I know you saw the big ol’ reprise-every-song-in-medley-form-and-bring-out-the-whole-cast finale of Act I coming from a mile away. But my friend! The second act is where it’s at! The first act starts to get going about 2/3 of the way in, but everything the first act lacks — emotional resonance, complex characters, edge-of-your-seat drama — comes in the second act. During “Cabinet Battle #2” I saw a man asleep on his wife’s shoulder and was like, \u003cem>How could anyone be sleeping through this?!\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>3. You’re a stickler about cultural appropriation.\u003c/strong> Most of the show’s laughs come from interjecting overt hip-hop slang, phrases, and dances into the “formal” script. The juxtaposition of the two is low-hanging fruit, but it’s not offensive — unless if you’re protective of black culture being co-opted for a white man’s history lesson on Broadway, and well, that’s basically this whole show. \u003c/p>\n\u003cfigure id=\"attachment_12946933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-800x450.jpg\" alt=\"Amber Iman, Emmy Raver-Lampman and the 'Hamilton' company of the 'Hamilton' national tour, currently at SHN Orpheum Theatre in San Francisco.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12946933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/HamiltonAmberEtc-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amber Iman, Emmy Raver-Lampman and the ‘Hamilton’ company of the ‘Hamilton’ national tour, currently at SHN Orpheum Theatre in San Francisco. \u003ccite>(Joan Marcus)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>4. You’re looking for a political message.\u003c/strong> Most of the night’s biggest cheers came from social-commentary one-liners. “Immigrants — we get the job done” is a famous one, but it only occurs once. Another line about women needing to be written into the constitution gets applause. But for all the chatter about \u003ca href=\"https://ww2.kqed.org/arts/2016/11/19/counterpoint-the-theater-should-not-be-a-safe-place/\" target=\"_blank\" rel=\"noopener\">the Broadway cast’s speech to Mike Pence\u003c/a>, and what the show “says” about America, I was not moved to patriotism, or dissent, or to really think about politics much at all. There’s also nothing that overtly speaks to Trump’s America. (Unless you count the line: “Winning was easy, young man — governing’s hard.”) \u003c/p>\n\u003cp>\u003cstrong>5. You can be patient.\u003c/strong> Look, a show like \u003cem>Hamilton\u003c/em>’s not going anywhere in the long term. Wait a few years and it’ll be back in a revival or tour. The way things are going, by that time, a theatrical EDM/dubstep adaptation of the Louisiana Purchase will be all the rage and \u003cem>Hamilton\u003c/em> will cost $60.\u003c/p>\n\u003cp>\u003cstrong>6. You really love Daveed Diggs.\u003c/strong> As Alexander Hamilton, lead actor Michael Luwoye is excellent and workmanlike in filling Lin-Manuel Miranda’s humongous shoes. Joshua Henry as Aaron Burr? Isaiah Johnson as George Washington? All fine. But Jordan Donica plays Thomas Jefferson in a juvenile, clownish fashion, as if director Thomas Kail explicitly asked him to make Jefferson look uncool. (This is exemplified in the way Donica delivers a Notorious B.I.G. line in the cabinet battle, with a seemingly intentional lack of style.) I’m not arguing that the real-life Jefferson was a cool dude, but the portrayal here doesn’t fit. \u003c/p>\n\u003cp>\u003cstrong>7. You’re a set/costume/design nerd.\u003c/strong> The set for Hamilton is essentially static — a balcony on the perimeter, a rotating turntable on stage, and intermittent lighting and props to mix it up. The costumes are perfectly executed but nothing groundbreaking. The cast does a lot with this mostly unchanging landscape, but it’s not going to blow anyone away.\u003c/p>\n\u003cp>So there you have it. Still want to join the wave and be part of theatre history? You’re now armed with all the knowledge you need. The show’s only in town ’til August, so don’t throw away your sh… oh, you know how it goes by now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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=\"(max-width: 800px) 100vw, 800px\">\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>‘Hamilton’ runs through Aug. 5, 2017, at SHN Orpheum Theatre. For full details, \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12946318/should-you-really-pay-600-to-see-hamilton-in-san-francisco",
"authors": [
"185"
],
"categories": [
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_12946321",
"label": "arts"
},
"arts_12943603": {
"type": "posts",
"id": "arts_12943603",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12943603",
"score": null,
"sort": [
1490316049000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1490316049,
"format": "standard",
"title": "Cy and David's Picks: The Early Days of the AIDS Crisis, Women Singing the Blues, and Love in a Time of Madness",
"headTitle": "Cy and David’s Picks: The Early Days of the AIDS Crisis, Women Singing the Blues, and Love in a Time of Madness | KQED",
"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/03/TDL20170324.mp3\u003c/p>\n\u003cp>We didn’t plan it this way, but the show this week is a tribute to audacious women making art. It seems a good time for that. David and I also include shoutouts for Idris Ackamoor and the Pyramids, who bring their mix of jazz, African pop and Sun Ra-inspired freedom to \u003ca href=\"http://www.prjazz.org/\" target=\"_blank\" rel=\"noopener\">Pt. Richmond Jazz\u003c/a>; details \u003ca href=\"http://prjazzpyramid.bpt.me/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And David squeezes in a nod to the San Francisco Gay Men’s Chorus, doing a show at the Herbst called \u003cem>Paradise\u003c/em>, including the Alan Mencken song “God Help the Outcasts.” Details \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ukzY2ODrUmM\u003c/p>\n\u003cp>\u003cstrong>March 25\u003c/strong>: We’ll always think of Kristin Chenoweth as Glynda, the good witch from \u003cem>Wicked\u003c/em>, a musical that worked out its kinks during a month-long run in San Francisco before blowing the doors off Broadway. Audiences at the Curran Theater saw how Chenoweth’s voice could be both girlish and fabulously powerful. She’s also been great on television in \u003cem>Glee\u003c/em> and as a co-star of \u003cem>Pushing up Daisies\u003c/em>. Now she’s touring, doing a few favorites from \u003cem>Wicked \u003c/em>and treasures from the Great American Songbook — and she never phones it in. Details on her Bing Concert Hall show March 25 are \u003ca href=\"https://live.stanford.edu/calendar/march-2017/intimate-evening-kristin-chenoweth\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ltsf3xeyQdQ\u003c/p>\n\u003cp>\u003cstrong>March 24–25 & April 8\u003c/strong>: The Bay Area’s \u003ca href=\"http://www.theleelainstitute.org/\" target=\"_blank\" rel=\"noopener\">Leela Dance\u003c/a> is committed to keeping Kathak, a rhythmic bare-footed dance form going back hundreds of years in India, alive and fresh. Leela continues the work of Chitresh Das, who made the Bay Area a center of innovation for Kathak. This weekend at \u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">YBCA\u003c/a>, Leela Dance performs \u003cem>Speak\u003c/em>, a mashup of Kathak (Leela Dance members Rachna Nivas and Rina Mehta) with tap (Dormeshia Sumbry-Edwards and MacArthur winner Michelle Dorrance). Then, on April 8, the ambitious troupe presents the world premiere of \u003cem>Son of the Wind\u003c/em>, a dance drama about a mischievous hero rescuing a kidnapped princess (cue Disney). Details for \u003cem>Speak\u003c/em> at the Yerba Buena Center for the Arts are \u003ca href=\"https://www.ybca.org/whats-on/rachna-nivas-speak\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And details for \u003cem>Son of the Wind\u003c/em> at the Green Music Center in Rohnert Park are \u003ca href=\"http://gmc.sonoma.edu/event/3189887-leela-dance\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kNNLECFITvs\u003c/p>\n\u003cp>\u003cstrong>March 30:\u003c/strong> We may think of the blues as an iconic form: a black man with a guitar. But Pamela Rose posits in her musical tribute \u003ca href=\"https://bluesisawoman.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Blues is a Woman\u003c/em> \u003c/a>that it was stars like Ma Rainey and Alberta Hunter — on through to Janis Joplin and Bonnie Raitt — who really powered the development of the blues as popular music. “They were also presenting a really different idea of what women could be like in popular song,” Rose says in a phone interview. “These blues women did not suffer in silence. And that voice, that independence, that ‘I’m going to give you some advice, if he’s not good enough move on to find another.’ Women who frankly admitted they’d misbehaved. That voice changed entertainment and it still lives with us today.”\u003c/p>\n\u003cp>Rose has gathered a crackerjack all-woman blues band to help perform the show, with Kristen Strom on saxophone, Tammy Hall on keyboards, Ruth Davies on bass, Pat Wilder on guitar and Daria Johnson on drums. This performance is a preview show ahead of a month-long run at the \u003ca href=\"https://www.custommade.org/\" target=\"_blank\" rel=\"noopener\">Custom Made Theater \u003c/a>, running August 3–27. Details for \u003cem>Blues is a Woman\u003c/em> at Freight and Salvage in Berkeley on Thursday are \u003ca href=\"http://thefreight.org/pamela-rose-wild-women-song\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And details for one of Rose’s regular gigs at Angelica’s in Redwood City, on April 6, are \u003ca href=\"http://angelicaswm.tunestub.com/event.cfm?cart&id=258439\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12944478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12944478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-800x450.jpg\" alt=\"Paula Vogel‘s ‘The Baltimore Waltz‘ is coming to The Magic Theatre\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paula Vogel‘s ‘The Baltimore Waltz’ is coming to The Magic Theatre. \u003ccite>(Photo: Courtesy of Magic Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 24–April 16:\u003c/strong> Playwright Paula Vogel is having a moment, with her first Broadway drama (\u003cem>Indecent\u003c/em>) opening in a few weeks. Now, we get a chance to look back on one of the plays that made her reputation — 1990’s \u003cem>The Baltimore Waltz\u003c/em>, a romantic comedy/drama about the AIDS crisis inspired by her grief at the death of her own brother. Lauren English plays the sister, returning to the stage after too long an absence. The always-sharp Jonathan Moscone is directing. “Paula writes with a necessary indelicacy around grieving,” Moscone says, “not to revere it but just write it and laugh as much as you can.” And David says Vogel has even been sitting in on rehearsals — something she hasn’t done in years for \u003cem>The Baltimore Waltz\u003c/em> — so this should be a worthy revival. Details for the run at the Magic Theatre are \u003ca href=\"http://magictheatre.org/season/season\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And the Magic brings \u003cem>The Baltimore Waltz\u003c/em> to Laney College in Oakland for one matinee performance on Saturday, April 1, with details \u003ca href=\"http://magictheatre.org/laney\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BgPViIFfCB4\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 29\u003c/strong>: To cap a show devoted to strong women, here’s a singer both women and men can swoon to. \u003ca href=\"http://www.josejamesmusic.com/\" target=\"_blank\" rel=\"noopener\">José James \u003c/a>is a master of the slow jam, singing jazz, R&B, and hip-hop in a sultry baritone. He fits right in on the \u003ca href=\"http://www.fiftyshadesmovie.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fifty Shades Darker\u003c/em> \u003c/a>soundtrack album. Apparently James was planning an album about the hot issues of our time, from racism to economic inequality, and then decided the world needed a place to escape all that. Details for his show on Wednesday, March 29, at the Independent in San Francisco are \u003ca href=\"http://www.theindependentsf.com/event/1415209-jose-james-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 972,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705031148,
"excerpt": "This week, the Do List spotlights Kristen Chenoweth, a Kathak dance troupe, a female blues revue, a hip-hop crooner worth swooning over and more.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This week, the Do List spotlights Kristen Chenoweth, a Kathak dance troupe, a female blues revue, a hip-hop crooner worth swooning over and more.",
"title": "Cy and David's Picks: The Early Days of the AIDS Crisis, Women Singing the Blues, and Love in a Time of Madness | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: The Early Days of the AIDS Crisis, Women Singing the Blues, and Love in a Time of Madness",
"datePublished": "2017-03-23T17:40:49-07:00",
"dateModified": "2024-01-11T19:45:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-the-early-days-of-the-aids-crisis-women-singing-the-blues-and-love-in-a-time-of-madness",
"status": "publish",
"sticky": false,
"path": "/arts/12943603/cy-and-davids-picks-the-early-days-of-the-aids-crisis-women-singing-the-blues-and-love-in-a-time-of-madness",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/03/TDL20170324.mp3\u003c/p>\n\u003cp>We didn’t plan it this way, but the show this week is a tribute to audacious women making art. It seems a good time for that. David and I also include shoutouts for Idris Ackamoor and the Pyramids, who bring their mix of jazz, African pop and Sun Ra-inspired freedom to \u003ca href=\"http://www.prjazz.org/\" target=\"_blank\" rel=\"noopener\">Pt. Richmond Jazz\u003c/a>; details \u003ca href=\"http://prjazzpyramid.bpt.me/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And David squeezes in a nod to the San Francisco Gay Men’s Chorus, doing a show at the Herbst called \u003cem>Paradise\u003c/em>, including the Alan Mencken song “God Help the Outcasts.” Details \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ukzY2ODrUmM'\n title='//www.youtube.com/embed/ukzY2ODrUmM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 25\u003c/strong>: We’ll always think of Kristin Chenoweth as Glynda, the good witch from \u003cem>Wicked\u003c/em>, a musical that worked out its kinks during a month-long run in San Francisco before blowing the doors off Broadway. Audiences at the Curran Theater saw how Chenoweth’s voice could be both girlish and fabulously powerful. She’s also been great on television in \u003cem>Glee\u003c/em> and as a co-star of \u003cem>Pushing up Daisies\u003c/em>. Now she’s touring, doing a few favorites from \u003cem>Wicked \u003c/em>and treasures from the Great American Songbook — and she never phones it in. Details on her Bing Concert Hall show March 25 are \u003ca href=\"https://live.stanford.edu/calendar/march-2017/intimate-evening-kristin-chenoweth\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/Ltsf3xeyQdQ'\n title='//www.youtube.com/embed/Ltsf3xeyQdQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 24–25 & April 8\u003c/strong>: The Bay Area’s \u003ca href=\"http://www.theleelainstitute.org/\" target=\"_blank\" rel=\"noopener\">Leela Dance\u003c/a> is committed to keeping Kathak, a rhythmic bare-footed dance form going back hundreds of years in India, alive and fresh. Leela continues the work of Chitresh Das, who made the Bay Area a center of innovation for Kathak. This weekend at \u003ca href=\"https://www.ybca.org/\" target=\"_blank\" rel=\"noopener\">YBCA\u003c/a>, Leela Dance performs \u003cem>Speak\u003c/em>, a mashup of Kathak (Leela Dance members Rachna Nivas and Rina Mehta) with tap (Dormeshia Sumbry-Edwards and MacArthur winner Michelle Dorrance). Then, on April 8, the ambitious troupe presents the world premiere of \u003cem>Son of the Wind\u003c/em>, a dance drama about a mischievous hero rescuing a kidnapped princess (cue Disney). Details for \u003cem>Speak\u003c/em> at the Yerba Buena Center for the Arts are \u003ca href=\"https://www.ybca.org/whats-on/rachna-nivas-speak\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And details for \u003cem>Son of the Wind\u003c/em> at the Green Music Center in Rohnert Park are \u003ca href=\"http://gmc.sonoma.edu/event/3189887-leela-dance\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kNNLECFITvs'\n title='//www.youtube.com/embed/kNNLECFITvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 30:\u003c/strong> We may think of the blues as an iconic form: a black man with a guitar. But Pamela Rose posits in her musical tribute \u003ca href=\"https://bluesisawoman.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Blues is a Woman\u003c/em> \u003c/a>that it was stars like Ma Rainey and Alberta Hunter — on through to Janis Joplin and Bonnie Raitt — who really powered the development of the blues as popular music. “They were also presenting a really different idea of what women could be like in popular song,” Rose says in a phone interview. “These blues women did not suffer in silence. And that voice, that independence, that ‘I’m going to give you some advice, if he’s not good enough move on to find another.’ Women who frankly admitted they’d misbehaved. That voice changed entertainment and it still lives with us today.”\u003c/p>\n\u003cp>Rose has gathered a crackerjack all-woman blues band to help perform the show, with Kristen Strom on saxophone, Tammy Hall on keyboards, Ruth Davies on bass, Pat Wilder on guitar and Daria Johnson on drums. This performance is a preview show ahead of a month-long run at the \u003ca href=\"https://www.custommade.org/\" target=\"_blank\" rel=\"noopener\">Custom Made Theater \u003c/a>, running August 3–27. Details for \u003cem>Blues is a Woman\u003c/em> at Freight and Salvage in Berkeley on Thursday are \u003ca href=\"http://thefreight.org/pamela-rose-wild-women-song\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And details for one of Rose’s regular gigs at Angelica’s in Redwood City, on April 6, are \u003ca href=\"http://angelicaswm.tunestub.com/event.cfm?cart&id=258439\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12944478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12944478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-800x450.jpg\" alt=\"Paula Vogel‘s ‘The Baltimore Waltz‘ is coming to The Magic Theatre\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/mt-TBW-poster-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paula Vogel‘s ‘The Baltimore Waltz’ is coming to The Magic Theatre. \u003ccite>(Photo: Courtesy of Magic Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 24–April 16:\u003c/strong> Playwright Paula Vogel is having a moment, with her first Broadway drama (\u003cem>Indecent\u003c/em>) opening in a few weeks. Now, we get a chance to look back on one of the plays that made her reputation — 1990’s \u003cem>The Baltimore Waltz\u003c/em>, a romantic comedy/drama about the AIDS crisis inspired by her grief at the death of her own brother. Lauren English plays the sister, returning to the stage after too long an absence. The always-sharp Jonathan Moscone is directing. “Paula writes with a necessary indelicacy around grieving,” Moscone says, “not to revere it but just write it and laugh as much as you can.” And David says Vogel has even been sitting in on rehearsals — something she hasn’t done in years for \u003cem>The Baltimore Waltz\u003c/em> — so this should be a worthy revival. Details for the run at the Magic Theatre are \u003ca href=\"http://magictheatre.org/season/season\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> And the Magic brings \u003cem>The Baltimore Waltz\u003c/em> to Laney College in Oakland for one matinee performance on Saturday, April 1, with details \u003ca href=\"http://magictheatre.org/laney\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BgPViIFfCB4'\n title='//www.youtube.com/embed/BgPViIFfCB4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 29\u003c/strong>: To cap a show devoted to strong women, here’s a singer both women and men can swoon to. \u003ca href=\"http://www.josejamesmusic.com/\" target=\"_blank\" rel=\"noopener\">José James \u003c/a>is a master of the slow jam, singing jazz, R&B, and hip-hop in a sultry baritone. He fits right in on the \u003ca href=\"http://www.fiftyshadesmovie.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fifty Shades Darker\u003c/em> \u003c/a>soundtrack album. Apparently James was planning an album about the hot issues of our time, from racism to economic inequality, and then decided the world needed a place to escape all that. Details for his show on Wednesday, March 29, at the Independent in San Francisco are \u003ca href=\"http://www.theindependentsf.com/event/1415209-jose-james-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12943603/cy-and-davids-picks-the-early-days-of-the-aids-crisis-women-singing-the-blues-and-love-in-a-time-of-madness",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_966",
"arts_69",
"arts_235",
"arts_967"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596",
"arts_626"
],
"featImg": "arts_12944688",
"label": "arts_140"
},
"arts_12944030": {
"type": "posts",
"id": "arts_12944030",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12944030",
"score": null,
"sort": [
1490308371000
]
},
"guestAuthors": [],
"slug": "a-c-t-artistic-director-carey-perloff-leaving-post-after-25-years",
"title": "A.C.T. Artistic Director Carey Perloff Leaving Post After 25 Years",
"publishDate": 1490308371,
"format": "standard",
"headTitle": "A.C.T. Artistic Director Carey Perloff Leaving Post After 25 Years | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>After almost 25 years, Carey Perloff announced Thursday that she is stepping down as Artistic Director for San Francisco’s American Conservatory Theater (A.C.T.).\u003c/p>\n\u003cp>Perloff says will be leaving at the end of the 2017–18 season, so she can work on a touring production and her own writing projects. Her legacy will be that of a “phenomenal” artistic director, as well as “a gifted playwright, author, producer, director, teacher, mentor, and consummate fundraiser,” said Nancy Livingston, chair of A.C.T.’s Board of Trustees.\u003c/p>\n\u003cp>In 1992, Perloff came to San Francisco from New York, having worked at the off-Broadway Classic Stage Company for five years, following predecessors and A.C.T. co-founders Ed Hastings and William Ball.\u003c/p>\n\u003cp>“I came because ACT was built on a great idea and great ideas are hard to come by,” Perloff said Thursday. “And Bill Ball’s idea was great repertoire in collaboration with great training, and that a professional theater should always be about the future.”\u003c/p>\n\u003cp>Under Perloff’s artistic leadership, ACT rebuilt the Geary Theater after the Loma Prieta Earthquake, and helped raised $30 million to renovate and open the Strand Theater on Market Street.\u003c/p>\n\u003cfigure id=\"attachment_12943821\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12943821\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/New-Photos-126-800x1067.jpg\" alt=\"Perloff outside of The Strand\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perloff outside of The Strand\u003c/figcaption>\u003c/figure>\n\u003cp>Perloff also directed plays by Tom Stoppard, Harold Pinter and others. Among the world premieres she helmed were David Mamet’s adaptation of the \u003cem>The Voysey Inheritance\u003c/em> and \u003cem>The Tosca Project,\u003c/em> which Perloff co-created with choreographer Val Caniparoli.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her 25th season at A.C.T. begins next fall, and she says she stayed for so long partly because she found a great audience here.\u003c/p>\n\u003cp>“Its fearless. We can do the most risk-taking and challenging work in a very big house, because this is an audience that has appetite (for that),” Perloff said.\u003c/p>\n\u003cp>One reason she’s leaving, she says, is the success of the world premiere she directed of \u003cem>A Thousand Splendid Suns\u003c/em> — adapted from a book by San Jose’s Khaled Hosseini, about women in Afghanistan — that will be touring the country for the next few years.\u003c/p>\n\u003cp>But she’s happy to be leaving with decades of wonderful memories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“One favorite moment was standing at the back of the house on opening night of (Shakespeare’s) \u003cem>The Tempest\u003c/em>, the day the Geary reopened, and listening to the Kronos Quartet, the Bay Area’s greatest music ensemble,” she said. “That was so thrilling to me. To see that play rise on that stage, after the ruins of the earthquake. That was really magical.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "Perloff will be leaving after this season so she can work on touring productions and her own writing projects",
"status": "publish",
"parent": 0,
"modified": 1726707693,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 448
},
"headData": {
"title": "A.C.T. Artistic Director Carey Perloff Leaving Post After 25 Years | KQED",
"description": "Perloff will be leaving after this season so she can work on touring productions and her own writing projects",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A.C.T. Artistic Director Carey Perloff Leaving Post After 25 Years",
"datePublished": "2017-03-23T15:32:51-07:00",
"dateModified": "2024-09-18T18:01:33-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://htttp:www.kqed.org/.stream/anon/radio//2017/03/ArtsRallySFCItyHallKQEDMusiker.mp3",
"guestFields": "0",
"sticky": false,
"path": "/arts/12944030/a-c-t-artistic-director-carey-perloff-leaving-post-after-25-years",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After almost 25 years, Carey Perloff announced Thursday that she is stepping down as Artistic Director for San Francisco’s American Conservatory Theater (A.C.T.).\u003c/p>\n\u003cp>Perloff says will be leaving at the end of the 2017–18 season, so she can work on a touring production and her own writing projects. Her legacy will be that of a “phenomenal” artistic director, as well as “a gifted playwright, author, producer, director, teacher, mentor, and consummate fundraiser,” said Nancy Livingston, chair of A.C.T.’s Board of Trustees.\u003c/p>\n\u003cp>In 1992, Perloff came to San Francisco from New York, having worked at the off-Broadway Classic Stage Company for five years, following predecessors and A.C.T. co-founders Ed Hastings and William Ball.\u003c/p>\n\u003cp>“I came because ACT was built on a great idea and great ideas are hard to come by,” Perloff said Thursday. “And Bill Ball’s idea was great repertoire in collaboration with great training, and that a professional theater should always be about the future.”\u003c/p>\n\u003cp>Under Perloff’s artistic leadership, ACT rebuilt the Geary Theater after the Loma Prieta Earthquake, and helped raised $30 million to renovate and open the Strand Theater on Market Street.\u003c/p>\n\u003cfigure id=\"attachment_12943821\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12943821\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/New-Photos-126-800x1067.jpg\" alt=\"Perloff outside of The Strand\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/New-Photos-126.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perloff outside of The Strand\u003c/figcaption>\u003c/figure>\n\u003cp>Perloff also directed plays by Tom Stoppard, Harold Pinter and others. Among the world premieres she helmed were David Mamet’s adaptation of the \u003cem>The Voysey Inheritance\u003c/em> and \u003cem>The Tosca Project,\u003c/em> which Perloff co-created with choreographer Val Caniparoli.\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>Her 25th season at A.C.T. begins next fall, and she says she stayed for so long partly because she found a great audience here.\u003c/p>\n\u003cp>“Its fearless. We can do the most risk-taking and challenging work in a very big house, because this is an audience that has appetite (for that),” Perloff said.\u003c/p>\n\u003cp>One reason she’s leaving, she says, is the success of the world premiere she directed of \u003cem>A Thousand Splendid Suns\u003c/em> — adapted from a book by San Jose’s Khaled Hosseini, about women in Afghanistan — that will be touring the country for the next few years.\u003c/p>\n\u003cp>But she’s happy to be leaving with decades of wonderful memories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“One favorite moment was standing at the back of the house on opening night of (Shakespeare’s) \u003cem>The Tempest\u003c/em>, the day the Geary reopened, and listening to the Kronos Quartet, the Bay Area’s greatest music ensemble,” she said. “That was so thrilling to me. To see that play rise on that stage, after the ruins of the earthquake. That was really magical.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12944030/a-c-t-artistic-director-carey-perloff-leaving-post-after-25-years",
"authors": [
"93",
"32"
],
"categories": [
"arts_235",
"arts_967"
],
"tags": [
"arts_1448",
"arts_596"
],
"featImg": "arts_12943822",
"label": "arts"
},
"arts_12933517": {
"type": "posts",
"id": "arts_12933517",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12933517",
"score": null,
"sort": [
1490146122000
]
},
"guestAuthors": [],
"slug": "berkeley-rep-announces-2017-2018-season-includes-angels-in-america",
"title": "Berkeley Rep Announces 2017-2018 Season, Includes 'Angels In America'",
"publishDate": 1490146122,
"format": "standard",
"headTitle": "Berkeley Rep Announces 2017-2018 Season, Includes ‘Angels In America’ | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The Berkeley Repertory Theatre announced the lineup for its 2017-2018 season Tuesday and among its seven productions will be both parts of the epic \u003ci>Angels in America: A Gay Fantasia on National Themes,\u003c/i> the first time its played in Bay Area in over 20 years.\u003c/p>\n\u003cp>[contextly_sidebar id=”CzHODKVgGtqMDUoH5Sj2RDROPkH3I4zB”]\u003c/p>\n\u003cp>This upcoming season will be the second to last for the theater’s \u003ca href=\"https://ww2.kqed.org/arts/2017/01/31/berkeley-rep-artistic-director-tony-taccone-announces-departure/\" target=\"_blank\" rel=\"noopener\">longtime artistic director Tony Taccone\u003c/a>, who originally commissioned \u003ci>Angels in America\u003c/i> in 1988 from then-budding playwright Tony Kushner. The play became a massive success, winning the Pulitzer Prize and the Tony Award for Best Play among other awards, and would start a collaboration between Taccone and Kushner that still exists today.\u003c/p>\n\u003cp>This season will be Taccone’s 20th with Berkeley Rep, and the production of \u003ci>Angels in America\u003c/i> will be its first at the theater.\u003c/p>\n\u003cp>Taccone will also be directing his second collaboration with Daniel Handler, best known as the Lemony Snicket, author of the children’s book series \u003ci>A Series of Unfortunate Events.\u003c/i> The play, \u003ci>Imaginary Comforts, or The Story of the Ghost of the Dead Rabbit,\u003c/i> premieres in October of this year and is described as following “ordinary people trying to make sense out of life in the midst of endless, comedic chaos.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The season opens with the world premiere of \u003cem>Ain’t Too Proud — The Temptations,\u003c/em> which tells the story of the world famous Motown quintet, who Billboard Magazine declared was “the greatest R&B group of all time.” The group began on the streets of Detroit and with the help of hitmaker Berry Gordy, became one of America’s most successful groups. The play portrays the group as they hit the musical stratosphere, only to come crashing back to earth due to drug problems and other issues.\u003c/p>\n\u003cp>“Both in terms of content and form, every play in the 2017-18 season is a radical attempt to reveal something about how we live,” Taccone said.\u003c/p>\n\u003cp>\u003ci>Ain’t Too Proud\u003c/i> was written by Kennedy Award-winning playwright Dominique Morisseau, and will be choreographed by Olivier Award winner Sergio Trujillo and directed by Des McAnuff, who won Tony Awards for his work on \u003ci>Big River\u003c/i> and \u003ci>The Who’s Tommy.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To see the full 2017-2018 season, visit the \u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Rep website\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The epic play about homosexuality and AIDS returns to the Bay Area for the first time in over 20 years.",
"status": "publish",
"parent": 0,
"modified": 1726707699,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 395
},
"headData": {
"title": "Berkeley Rep Announces 2017-2018 Season, Includes 'Angels In America' | KQED",
"description": "The epic play about homosexuality and AIDS returns to the Bay Area for the first time in over 20 years.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Berkeley Rep Announces 2017-2018 Season, Includes 'Angels In America'",
"datePublished": "2017-03-21T18:28:42-07:00",
"dateModified": "2024-09-18T18:01:39-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/12933517/berkeley-rep-announces-2017-2018-season-includes-angels-in-america",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Berkeley Repertory Theatre announced the lineup for its 2017-2018 season Tuesday and among its seven productions will be both parts of the epic \u003ci>Angels in America: A Gay Fantasia on National Themes,\u003c/i> the first time its played in Bay Area in over 20 years.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This upcoming season will be the second to last for the theater’s \u003ca href=\"https://ww2.kqed.org/arts/2017/01/31/berkeley-rep-artistic-director-tony-taccone-announces-departure/\" target=\"_blank\" rel=\"noopener\">longtime artistic director Tony Taccone\u003c/a>, who originally commissioned \u003ci>Angels in America\u003c/i> in 1988 from then-budding playwright Tony Kushner. The play became a massive success, winning the Pulitzer Prize and the Tony Award for Best Play among other awards, and would start a collaboration between Taccone and Kushner that still exists today.\u003c/p>\n\u003cp>This season will be Taccone’s 20th with Berkeley Rep, and the production of \u003ci>Angels in America\u003c/i> will be its first at the theater.\u003c/p>\n\u003cp>Taccone will also be directing his second collaboration with Daniel Handler, best known as the Lemony Snicket, author of the children’s book series \u003ci>A Series of Unfortunate Events.\u003c/i> The play, \u003ci>Imaginary Comforts, or The Story of the Ghost of the Dead Rabbit,\u003c/i> premieres in October of this year and is described as following “ordinary people trying to make sense out of life in the midst of endless, comedic chaos.”\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 season opens with the world premiere of \u003cem>Ain’t Too Proud — The Temptations,\u003c/em> which tells the story of the world famous Motown quintet, who Billboard Magazine declared was “the greatest R&B group of all time.” The group began on the streets of Detroit and with the help of hitmaker Berry Gordy, became one of America’s most successful groups. The play portrays the group as they hit the musical stratosphere, only to come crashing back to earth due to drug problems and other issues.\u003c/p>\n\u003cp>“Both in terms of content and form, every play in the 2017-18 season is a radical attempt to reveal something about how we live,” Taccone said.\u003c/p>\n\u003cp>\u003ci>Ain’t Too Proud\u003c/i> was written by Kennedy Award-winning playwright Dominique Morisseau, and will be choreographed by Olivier Award winner Sergio Trujillo and directed by Des McAnuff, who won Tony Awards for his work on \u003ci>Big River\u003c/i> and \u003ci>The Who’s Tommy.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To see the full 2017-2018 season, visit the \u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Rep website\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12933517/berkeley-rep-announces-2017-2018-season-includes-angels-in-america",
"authors": [
"93"
],
"categories": [
"arts_235",
"arts_967"
],
"tags": [
"arts_1448",
"arts_596"
],
"featImg": "arts_12934186",
"label": "arts"
},
"arts_12911335": {
"type": "posts",
"id": "arts_12911335",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12911335",
"score": null,
"sort": [
1489755621000
]
},
"guestAuthors": [],
"slug": "in-california-the-beginning-of-the-battle-to-save-arts-funding",
"title": "In California, the 'Beginning of the Battle' to Save Arts Funding",
"publishDate": 1489755621,
"format": "standard",
"headTitle": "In California, the ‘Beginning of the Battle’ to Save Arts Funding | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>With the official release of President Trump’s proposed budget on Thursday, arts leaders in California weren’t surprised to see the elimination of the \u003ca href=\"https://www.arts.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts\u003c/a> (NEA) and the \u003ca href=\"https://www.neh.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Humanities \u003c/a>(NEH) among the cuts. But that doesn’t mean they’re not worried about the survival of dozens of arts programs across the state, many of them serving immigrant and poor communities.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“It’s a significant blow,” says California Arts Council director Craig Watson. “Our fear is that even a loss of modest funding will have a ripple effect through local neighborhoods, and the neighborhoods that are least able to afford those losses.”\u003c/p>\n\u003cp>Watson says individual grants aren’t that large. In total, the NEA split $7.8 million among 119 grantees in California this year (2016-2017), while another $1.2 million went to the California Arts Council. But grantees have to match every dollar from other donors, in part to demonstrate public support for their programming or artworks. Groups say they can leverage an NEA grant nine times.\u003c/p>\n\u003cp>The Alliance for California Traditional Arts (ACTA) received $120,000 from the NEA last year, and the group stretched that money to support the work of everyone from Ohlone basket weavers to producers of Vietnamese opera and Cowboy poets.\u003c/p>\n\u003cfigure id=\"attachment_12911339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12911339 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg\" alt=\"Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez. \u003ccite>(Photo: Courtesy California Arts Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s the thing that really is alarming about eliminating this agency,” says ACTA director Amy Kitchener. “There really is a fragile ecosystem for the arts in this country.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cuts could also mean more empty galleries at museums. The NEA underwrites temporary insurance for artwork in traveling exhibitions, an often otherwise prohibitive cost even for larger museums.\u003c/p>\n\u003cp>San Francisco Museum of Modern Art (SFMOMA) director Neal Benezra says the museum couldn’t have co-curated its current \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" target=\"_blank\" rel=\"noopener\">\u003cem>Matisse/Diebenkorn\u003c/em> \u003c/a>show without NEA support, seeing as paintings by Matisse are valued in the \u003ca href=\"http://www.independent.co.uk/arts-entertainment/art/matisse-sets-new-49-million-dollar-record-in-new-york-2126992.html\" target=\"_blank\" rel=\"noopener\">millions and tens of millions of dollars\u003c/a>. “For many of our visitors,” Benezra wrote in an email, “these exhibitions represent the only opportunity in their lifetimes to enjoy and learn from these important works and the artists who created them.”\u003c/p>\n\u003cfigure id=\"attachment_12876000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12876000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg\" alt=\"Matisse's Goldfish and Palette next to Diebenkorn's Urbana #5- showing the affinities between the two artists in a show at SFMOMA\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matisse’s ‘Goldfish and Palette’ next to Diebenkorn’s ‘Urbana #5’ — showing the affinities between the two artists in a show at SFMOMA. \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>President Trump has also proposed eliminating the \u003ca href=\"https://www.imls.gov/\" target=\"_blank\" rel=\"noopener\">Institute for Museum and Library Science\u003c/a>, which helped fund SFMOMA’s new Photography Interpretive Gallery.\u003c/p>\n\u003cp>The same fate would also befall the National Endowment for the Humanities, which funds dozens of scholarly programs in California. The NEH has given San Jose State Associate Professor Matthew Spangler approximately $500,000 over the past three years, which he’s used to run a summer institute for K-12 teachers from around the country about the immigrant experience in California. As part of the program, the teachers are able to meet with authors ranging from Khaled Hosseini to Luis Valdez and Maxine Hong Kingston.\u003c/p>\n\u003cp>“The teachers come from all over — rural Georgia, Ohio, Wyoming, Alaska, New York — and they go back to do their schools rejuvenated,” Spangler says. “So these programs benefit the constituents of the very states of the congresspeople who will probably vote to kill them. That’s what’s kind of sad and ironic.”\u003c/p>\n\u003cp>Congress has considered proposals to kill federal arts and culture funding before, and rejected them.\u003c/p>\n\u003cp>“We’re not going to drop like a wet rock out of the sky tomorrow,” says Kitchener.\u003c/p>\n\u003cp>Meanwhile, \u003ca href=\"https://californiansforthearts.org/board-of-directors/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area Executive Director Brad Erickson\u003c/a> is heading a delegation of state arts leaders flying to Washington on Monday and Tuesday (March 20 and 21) to lobby Congress on what they’re calling an \u003ca href=\"http://www.americansforthearts.org/events/arts-advocacy-day\" target=\"_blank\" rel=\"noopener\">Arts Advocacy Day\u003c/a>. They promise they’ll be calling on Representative Ken Calvert, who represents Riverside County and who chairs the interior subcommittee which oversees the NEA budget.\u003c/p>\n\u003cp>Says CAC director Watson: “This is the beginning of the battle.”\u003c/p>\n\u003cp>\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=\"Q.Logo.Break\" 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"blocks": [],
"excerpt": "California arts leaders ready for the fight to save funding for the National Endowments for the Arts and Humanities. ",
"status": "publish",
"parent": 0,
"modified": 1726707723,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 738
},
"headData": {
"title": "In California, the 'Beginning of the Battle' to Save Arts Funding | KQED",
"description": "California arts leaders ready for the fight to save funding for the National Endowments for the Arts and Humanities. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In California, the 'Beginning of the Battle' to Save Arts Funding",
"datePublished": "2017-03-17T06:00:21-07:00",
"dateModified": "2024-09-18T18:02:03-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio//2017/03/CaliforniaReactstoNEACutsTCRMusiker.mp3",
"guestFields": "0",
"sticky": false,
"path": "/arts/12911335/in-california-the-beginning-of-the-battle-to-save-arts-funding",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the official release of President Trump’s proposed budget on Thursday, arts leaders in California weren’t surprised to see the elimination of the \u003ca href=\"https://www.arts.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts\u003c/a> (NEA) and the \u003ca href=\"https://www.neh.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Humanities \u003c/a>(NEH) among the cuts. But that doesn’t mean they’re not worried about the survival of dozens of arts programs across the state, many of them serving immigrant and poor communities.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“It’s a significant blow,” says California Arts Council director Craig Watson. “Our fear is that even a loss of modest funding will have a ripple effect through local neighborhoods, and the neighborhoods that are least able to afford those losses.”\u003c/p>\n\u003cp>Watson says individual grants aren’t that large. In total, the NEA split $7.8 million among 119 grantees in California this year (2016-2017), while another $1.2 million went to the California Arts Council. But grantees have to match every dollar from other donors, in part to demonstrate public support for their programming or artworks. Groups say they can leverage an NEA grant nine times.\u003c/p>\n\u003cp>The Alliance for California Traditional Arts (ACTA) received $120,000 from the NEA last year, and the group stretched that money to support the work of everyone from Ohlone basket weavers to producers of Vietnamese opera and Cowboy poets.\u003c/p>\n\u003cfigure id=\"attachment_12911339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12911339 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg\" alt=\"Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Trad-arts.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indigenous Mixtec Oaxacan immigrants in the San Joaquin Valley perform the Danza de los Diablos (Dance of the Devils). ACTA supported an apprenticeship in mask making with master artist Luis Ortiz and his apprentice Panuncio Gutiérrez. \u003ccite>(Photo: Courtesy California Arts Council)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s the thing that really is alarming about eliminating this agency,” says ACTA director Amy Kitchener. “There really is a fragile ecosystem for the arts in this country.”\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 cuts could also mean more empty galleries at museums. The NEA underwrites temporary insurance for artwork in traveling exhibitions, an often otherwise prohibitive cost even for larger museums.\u003c/p>\n\u003cp>San Francisco Museum of Modern Art (SFMOMA) director Neal Benezra says the museum couldn’t have co-curated its current \u003ca href=\"https://www.sfmoma.org/exhibition/matisse-diebenkorn/\" target=\"_blank\" rel=\"noopener\">\u003cem>Matisse/Diebenkorn\u003c/em> \u003c/a>show without NEA support, seeing as paintings by Matisse are valued in the \u003ca href=\"http://www.independent.co.uk/arts-entertainment/art/matisse-sets-new-49-million-dollar-record-in-new-york-2126992.html\" target=\"_blank\" rel=\"noopener\">millions and tens of millions of dollars\u003c/a>. “For many of our visitors,” Benezra wrote in an email, “these exhibitions represent the only opportunity in their lifetimes to enjoy and learn from these important works and the artists who created them.”\u003c/p>\n\u003cfigure id=\"attachment_12876000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12876000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg\" alt=\"Matisse's Goldfish and Palette next to Diebenkorn's Urbana #5- showing the affinities between the two artists in a show at SFMOMA\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/MatisseDiebenkorn.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matisse’s ‘Goldfish and Palette’ next to Diebenkorn’s ‘Urbana #5’ — showing the affinities between the two artists in a show at SFMOMA. \u003ccite>(Photo: Courtesy of SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>President Trump has also proposed eliminating the \u003ca href=\"https://www.imls.gov/\" target=\"_blank\" rel=\"noopener\">Institute for Museum and Library Science\u003c/a>, which helped fund SFMOMA’s new Photography Interpretive Gallery.\u003c/p>\n\u003cp>The same fate would also befall the National Endowment for the Humanities, which funds dozens of scholarly programs in California. The NEH has given San Jose State Associate Professor Matthew Spangler approximately $500,000 over the past three years, which he’s used to run a summer institute for K-12 teachers from around the country about the immigrant experience in California. As part of the program, the teachers are able to meet with authors ranging from Khaled Hosseini to Luis Valdez and Maxine Hong Kingston.\u003c/p>\n\u003cp>“The teachers come from all over — rural Georgia, Ohio, Wyoming, Alaska, New York — and they go back to do their schools rejuvenated,” Spangler says. “So these programs benefit the constituents of the very states of the congresspeople who will probably vote to kill them. That’s what’s kind of sad and ironic.”\u003c/p>\n\u003cp>Congress has considered proposals to kill federal arts and culture funding before, and rejected them.\u003c/p>\n\u003cp>“We’re not going to drop like a wet rock out of the sky tomorrow,” says Kitchener.\u003c/p>\n\u003cp>Meanwhile, \u003ca href=\"https://californiansforthearts.org/board-of-directors/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area Executive Director Brad Erickson\u003c/a> is heading a delegation of state arts leaders flying to Washington on Monday and Tuesday (March 20 and 21) to lobby Congress on what they’re calling an \u003ca href=\"http://www.americansforthearts.org/events/arts-advocacy-day\" target=\"_blank\" rel=\"noopener\">Arts Advocacy Day\u003c/a>. They promise they’ll be calling on Representative Ken Calvert, who represents Riverside County and who chairs the interior subcommittee which oversees the NEA budget.\u003c/p>\n\u003cp>Says CAC director Watson: “This is the beginning of the battle.”\u003c/p>\n\u003cp>\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=\"Q.Logo.Break\" 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12911335/in-california-the-beginning-of-the-battle-to-save-arts-funding",
"authors": [
"32"
],
"categories": [
"arts_1",
"arts_235",
"arts_967",
"arts_70"
],
"tags": [
"arts_1642",
"arts_1448",
"arts_1730",
"arts_596"
],
"featImg": "arts_12911337",
"label": "arts"
},
"arts_12909297": {
"type": "posts",
"id": "arts_12909297",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12909297",
"score": null,
"sort": [
1489712442000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1489712442,
"format": "standard",
"title": "Cy and David's Picks: Sisters on Stage, Gods and Monsters, and a Highway Queen",
"headTitle": "Cy and David’s Picks: Sisters on Stage, Gods and Monsters, and a Highway Queen | KQED",
"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/03/TDL20170317.mp3\u003c/p>\n\u003cp>David and I talked off-air this morning about President Trump’s proposed budget, which we learned this week would kill funding for the \u003ca href=\"http://www.npr.org/2017/03/16/520401246/trumps-budget-plan-cuts-funding-for-arts-humanities-and-public-media\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts and the National Endowment for the Humanities\u003c/a>. The groups have supported hundreds of Bay Area arts groups and cultural programs over the years, including many we cover on the The Do List. \u003ca href=\"http://www.americansforthearts.org/\" target=\"_blank\" rel=\"noopener\">Americans for the Arts\u003c/a> is encouraging individuals (that’s you, our listeners and readers) to contact their elected representatives to voice their support (or criticism) of the NEA. \u003ca href=\"https://www.votervoice.net/ARTSUSA/Campaigns/47344/Respond\" target=\"_blank\" rel=\"noopener\">Here’s where to go.\u003c/a> And now the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zcvQL8_ZP20\u003c/p>\n\u003cp>\u003cstrong>March 23\u003c/strong>: \u003ca href=\"https://www.nikkilane.com/\" target=\"_blank\" rel=\"noopener\">Nikki Lane\u003c/a> didn’t start writing songs until a bad breakup at the age of 25. She says she was working too hard, paying the bills, to even dream about a music career. But now Lane is a Nashville singer-songwriter — and successful enough to own her own vintage clothing store called High Class Hillbilly. Her new album is a great example of how to marry rock and country-western without compromising either; just listen to the guitar solo opening “700,000 Rednecks,” her tribute to her South Carolina hometown. This is the soundtrack for my next road trip. Details for her show on March 23 at the Social Hall in San Francisco \u003ca href=\"http://www.socialhallsf.com/events/detail/328647\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ColFlk7UPZk\u003c/p>\n\u003cp>\u003cstrong>March 29\u003c/strong>: Travis Wall is a choreographer and dancer best known for his work on the show \u003ca href=\"http://www.fox.com/so-you-think-you-can-dance\" target=\"_blank\" rel=\"noopener\">\u003cem>So You Think You Can Dance\u003c/em>\u003c/a>, where he debuted at the age of 19. (David says it’s still the only TV dance show he likes.) Now Wall is leading the dance company \u003ca href=\"http://www.shapingsoundco.com/\" target=\"_blank\" rel=\"noopener\">Shaping Sound\u003c/a>, and they’re touring with a new show called \u003cem>After The Curtain. \u003c/em>Among the dozen dancers in the company is Nick Lazzarini, who grew up in Mountain View. Expect a mix of modern dance, tap, and the very athletic styles favored by TV choreographers. Details for his show Wednesday at San Jose’s Center for the Performing Arts are \u003ca href=\"http://sanjosetheaters.org/event/travis-walls-shaping-sound-curtain/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rPgxT-xV2SU\u003c/p>\n\u003cp>\u003cstrong>March 16–18\u003c/strong>: Tap dancing happens when jazz musicians play a tune with their feet. No one is doing it better today than Michelle Dorrance and her fellow tappers of Dorrance Dance, including Toshi Reagon. They’re cherishing and pushing this tradition in their show \u003cem>The Blues Project\u003c/em>. Details on their three nights at the Yerba Buena Center for the Arts \u003ca href=\"http://sfperformances.org/performances/1617/DorranceDance.html?gclid=CJnGmYun3NICFUJrfgodqQgDWw\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wRwNUvCXP_8\u003c/p>\n\u003cp>\u003cstrong>March 22 & June 28–July 1:\u003c/strong> Nicholas Phan is one of our favorite Bay Area singers, a tenor with a gorgeous voice. He’s got a new album out called \u003cem>Gods and Monsters\u003c/em>, for which he’s picked songs from the romantic era, many of which tell stories out of the Greek myths that Phan loved growing up. Phan told me the other day he doesn’t do much opera, and that he’s more at home in an intimate setting singing art songs. “And what’s amazing about it is in these little miniatures,” he said, “there are these giant concepts, and this giant music, and the range that’s required is so big — bigger, in fact, than what’s required in opera sometimes. It’s like Pandora’s box, it looks really tiny on the outside, but you open it up and it’s full of these amazing monstrous and beautiful things inside.” Find details for Phan’s recital at the Hotel Rex on Wednesday \u003ca href=\"http://sfperformances.org/performances/1617/NicholasPhan.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And then he’s paired with Sasha Cooke singing \u003cem>Romeo and Juliet\u003c/em> by Hector Berlioz with the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/MTT-conducts-Berlioz-Romeo-and-Juliet.aspx\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony from June 28–July 1st\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12910328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12910328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-800x533.jpg\" alt=\"‘Calligraphy’ tells the story of two estranged sisters, and their daughters efforts to reunite them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Calligraphy’ tells the story of two estranged sisters, and their daughters’ efforts to reunite them. \u003ccite>(Photo: Kevin Berne/Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through April 2\u003c/strong>: There are a lot of sisters on Bay Area stages right now. \u003ca href=\"https://theatreworks.org\" target=\"_blank\" rel=\"noopener\">Theatreworks \u003c/a>is opening \u003cem>Calligraphy\u003c/em>, by \u003ca href=\"http://www.velinahasuhouston.com/\" target=\"_blank\" rel=\"noopener\">Velina Hasu Houston\u003c/a>. It’s a sometimes comic story about the efforts of two cousins to bring together their mothers, who are estranged Japanese sisters (one living in the U.S., one still in Japan), even as Alzheimer’s strips the Japanese sister of her memories. Details for the run at Theatreworks in Palo Alto \u003ca href=\"https://www.theatreworks.org/calendar/2016-2017-season/calligraphy/\" target=\"_blank\" rel=\"noopener\">are here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ukrJ4QQEh6c\u003c/p>\n\u003cp>\u003cstrong>Continuing through April 1:\u003c/strong> Meanwhile \u003ca href=\"http://www.crowdedfire.org/\" target=\"_blank\" rel=\"noopener\">Crowded Fire Theater \u003c/a>is doing another story of sisters in Mia Chung’s play \u003cem>You For Me For You. \u003c/em>It’s about two North Korean sisters trying to escape the “Best Nation in the World,” how they’re torn apart, and how they fight to reunite. Details for the show at the Portrero Stage in San Francisco are \u003ca href=\"http://www.crowdedfire.org/you-for-me-for-you/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FDOLKSp2AWU\u003c/p>\n\u003cp>\u003cstrong>March 21:\u003c/strong> \u003ca href=\"https://www.mergerecords.com/teenage-fanclub\" target=\"_blank\" rel=\"noopener\">Teenage Fanclub \u003c/a>(Norman Blake, Gerard Love, and Raymond McGinley) make the smoothest, warmest, most uplifting pop you can imagine, and they make it seem easy. They’re back touring the U.S. after a long absence, and with a new album. If you loved them in the ’90s, take a younger friend to their show at the \u003ca href=\"http://www.slimspresents.com/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a> on Tuesday, and enlighten them. Details \u003ca href=\"http://www.slimspresents.com/event/teenage-fanclub-gamh-w-britta-phillips/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\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=\"Q.Logo.Break\" 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 958,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705031213,
"excerpt": "This week, The Do List features countrypolitan star Nikki Lane, tenor Nick Phan, two plays about sisters, and the return of Teenage Fanclub.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This week, The Do List features countrypolitan star Nikki Lane, tenor Nick Phan, two plays about sisters, and the return of Teenage Fanclub.",
"title": "Cy and David's Picks: Sisters on Stage, Gods and Monsters, and a Highway Queen | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: Sisters on Stage, Gods and Monsters, and a Highway Queen",
"datePublished": "2017-03-16T18:00:42-07:00",
"dateModified": "2024-01-11T19:46:53-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-sisters-on-stage-gods-and-monsters-and-a-highway-queen",
"status": "publish",
"sticky": false,
"path": "/arts/12909297/cy-and-davids-picks-sisters-on-stage-gods-and-monsters-and-a-highway-queen",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/03/TDL20170317.mp3\u003c/p>\n\u003cp>David and I talked off-air this morning about President Trump’s proposed budget, which we learned this week would kill funding for the \u003ca href=\"http://www.npr.org/2017/03/16/520401246/trumps-budget-plan-cuts-funding-for-arts-humanities-and-public-media\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts and the National Endowment for the Humanities\u003c/a>. The groups have supported hundreds of Bay Area arts groups and cultural programs over the years, including many we cover on the The Do List. \u003ca href=\"http://www.americansforthearts.org/\" target=\"_blank\" rel=\"noopener\">Americans for the Arts\u003c/a> is encouraging individuals (that’s you, our listeners and readers) to contact their elected representatives to voice their support (or criticism) of the NEA. \u003ca href=\"https://www.votervoice.net/ARTSUSA/Campaigns/47344/Respond\" target=\"_blank\" rel=\"noopener\">Here’s where to go.\u003c/a> And now the show.\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/zcvQL8_ZP20'\n title='//www.youtube.com/embed/zcvQL8_ZP20'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 23\u003c/strong>: \u003ca href=\"https://www.nikkilane.com/\" target=\"_blank\" rel=\"noopener\">Nikki Lane\u003c/a> didn’t start writing songs until a bad breakup at the age of 25. She says she was working too hard, paying the bills, to even dream about a music career. But now Lane is a Nashville singer-songwriter — and successful enough to own her own vintage clothing store called High Class Hillbilly. Her new album is a great example of how to marry rock and country-western without compromising either; just listen to the guitar solo opening “700,000 Rednecks,” her tribute to her South Carolina hometown. This is the soundtrack for my next road trip. Details for her show on March 23 at the Social Hall in San Francisco \u003ca href=\"http://www.socialhallsf.com/events/detail/328647\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/ColFlk7UPZk'\n title='//www.youtube.com/embed/ColFlk7UPZk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 29\u003c/strong>: Travis Wall is a choreographer and dancer best known for his work on the show \u003ca href=\"http://www.fox.com/so-you-think-you-can-dance\" target=\"_blank\" rel=\"noopener\">\u003cem>So You Think You Can Dance\u003c/em>\u003c/a>, where he debuted at the age of 19. (David says it’s still the only TV dance show he likes.) Now Wall is leading the dance company \u003ca href=\"http://www.shapingsoundco.com/\" target=\"_blank\" rel=\"noopener\">Shaping Sound\u003c/a>, and they’re touring with a new show called \u003cem>After The Curtain. \u003c/em>Among the dozen dancers in the company is Nick Lazzarini, who grew up in Mountain View. Expect a mix of modern dance, tap, and the very athletic styles favored by TV choreographers. Details for his show Wednesday at San Jose’s Center for the Performing Arts are \u003ca href=\"http://sanjosetheaters.org/event/travis-walls-shaping-sound-curtain/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rPgxT-xV2SU'\n title='//www.youtube.com/embed/rPgxT-xV2SU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 16–18\u003c/strong>: Tap dancing happens when jazz musicians play a tune with their feet. No one is doing it better today than Michelle Dorrance and her fellow tappers of Dorrance Dance, including Toshi Reagon. They’re cherishing and pushing this tradition in their show \u003cem>The Blues Project\u003c/em>. Details on their three nights at the Yerba Buena Center for the Arts \u003ca href=\"http://sfperformances.org/performances/1617/DorranceDance.html?gclid=CJnGmYun3NICFUJrfgodqQgDWw\" target=\"_blank\" rel=\"noopener\">are 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/wRwNUvCXP_8'\n title='//www.youtube.com/embed/wRwNUvCXP_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 22 & June 28–July 1:\u003c/strong> Nicholas Phan is one of our favorite Bay Area singers, a tenor with a gorgeous voice. He’s got a new album out called \u003cem>Gods and Monsters\u003c/em>, for which he’s picked songs from the romantic era, many of which tell stories out of the Greek myths that Phan loved growing up. Phan told me the other day he doesn’t do much opera, and that he’s more at home in an intimate setting singing art songs. “And what’s amazing about it is in these little miniatures,” he said, “there are these giant concepts, and this giant music, and the range that’s required is so big — bigger, in fact, than what’s required in opera sometimes. It’s like Pandora’s box, it looks really tiny on the outside, but you open it up and it’s full of these amazing monstrous and beautiful things inside.” Find details for Phan’s recital at the Hotel Rex on Wednesday \u003ca href=\"http://sfperformances.org/performances/1617/NicholasPhan.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And then he’s paired with Sasha Cooke singing \u003cem>Romeo and Juliet\u003c/em> by Hector Berlioz with the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2016-2017/MTT-conducts-Berlioz-Romeo-and-Juliet.aspx\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony from June 28–July 1st\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12910328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12910328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-800x533.jpg\" alt=\"‘Calligraphy’ tells the story of two estranged sisters, and their daughters efforts to reunite them\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Theatreworks-Calligraphy-photo-by-Kevin-Berne-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Calligraphy’ tells the story of two estranged sisters, and their daughters’ efforts to reunite them. \u003ccite>(Photo: Kevin Berne/Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through April 2\u003c/strong>: There are a lot of sisters on Bay Area stages right now. \u003ca href=\"https://theatreworks.org\" target=\"_blank\" rel=\"noopener\">Theatreworks \u003c/a>is opening \u003cem>Calligraphy\u003c/em>, by \u003ca href=\"http://www.velinahasuhouston.com/\" target=\"_blank\" rel=\"noopener\">Velina Hasu Houston\u003c/a>. It’s a sometimes comic story about the efforts of two cousins to bring together their mothers, who are estranged Japanese sisters (one living in the U.S., one still in Japan), even as Alzheimer’s strips the Japanese sister of her memories. Details for the run at Theatreworks in Palo Alto \u003ca href=\"https://www.theatreworks.org/calendar/2016-2017-season/calligraphy/\" target=\"_blank\" rel=\"noopener\">are 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/ukrJ4QQEh6c'\n title='//www.youtube.com/embed/ukrJ4QQEh6c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through April 1:\u003c/strong> Meanwhile \u003ca href=\"http://www.crowdedfire.org/\" target=\"_blank\" rel=\"noopener\">Crowded Fire Theater \u003c/a>is doing another story of sisters in Mia Chung’s play \u003cem>You For Me For You. \u003c/em>It’s about two North Korean sisters trying to escape the “Best Nation in the World,” how they’re torn apart, and how they fight to reunite. Details for the show at the Portrero Stage in San Francisco are \u003ca href=\"http://www.crowdedfire.org/you-for-me-for-you/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FDOLKSp2AWU'\n title='//www.youtube.com/embed/FDOLKSp2AWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 21:\u003c/strong> \u003ca href=\"https://www.mergerecords.com/teenage-fanclub\" target=\"_blank\" rel=\"noopener\">Teenage Fanclub \u003c/a>(Norman Blake, Gerard Love, and Raymond McGinley) make the smoothest, warmest, most uplifting pop you can imagine, and they make it seem easy. They’re back touring the U.S. after a long absence, and with a new album. If you loved them in the ’90s, take a younger friend to their show at the \u003ca href=\"http://www.slimspresents.com/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a> on Tuesday, and enlighten them. Details \u003ca href=\"http://www.slimspresents.com/event/teenage-fanclub-gamh-w-britta-phillips/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\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=\"Q.Logo.Break\" 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12909297/cy-and-davids-picks-sisters-on-stage-gods-and-monsters-and-a-highway-queen",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_966",
"arts_69",
"arts_235",
"arts_967"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596",
"arts_626"
],
"featImg": "arts_12909713",
"label": "arts_140"
},
"arts_12900328": {
"type": "posts",
"id": "arts_12900328",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12900328",
"score": null,
"sort": [
1489590040000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1489590040,
"format": "standard",
"title": "A Blind Theatergoer's 'Hamilton' Lawsuit Aims Spotlight On Broadway Accessibility",
"headTitle": "A Blind Theatergoer’s ‘Hamilton’ Lawsuit Aims Spotlight On Broadway Accessibility | KQED",
"content": "\u003cp>A recent lawsuit brought by a blind theatergoer against the producers of the hit musical \u003cem>Hamilton\u003c/em> has highlighted Broadway’s spotty track record in serving audiences with disabilities.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> opened almost a year and a half ago, but it’s \u003ca href=\"http://www.npr.org/2016/04/09/473503407/lin-manuel-miranda-talks-hamilton-once-a-ridiculous-pitch-now-a-revolution\">still the hottest ticket\u003c/a> on Broadway. Mark Lasser of Denver, who is blind, wanted to take his wife to the show and get audio description services to help him enjoy a performance. That means he hoped to get a headset and hear the stage action being described in real time, during the show. But he discovered that \u003cem>Hamilton\u003c/em> doesn’t offer this particular service.\u003c/p>\n\u003cp>“I think what this suit brings to light is that you have a hidden population out there that is not gaining the full access to Broadway,” says attorney \u003ca href=\"http://www.dininlaw.com/ada-claims/\" target=\"_blank\" rel=\"noopener\">Scott Dinin\u003c/a>, who is representing Lasser in the \u003ca href=\"https://www.classaction.org/blog/hamilton-production-companies-hit-with-civil-rights-class-action-lawsuit\">class-action suit\u003c/a> against the show’s producers and theater owner.\u003c/p>\n\u003cp>“Sometimes you need a lawsuit like this to bring this to the public’s attention,” Dinin says.\u003c/p>\n\u003cfigure id=\"attachment_11277676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg\" alt=\"Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11277676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON. \u003ccite>(Photo Credit: Joan Marcus )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Broadway has taken great strides in the decades since the Americans with Disabilities Act, or ADA, was passed in 1990. Last year, a new website called \u003ca href=\"http://www.theatreaccess.nyc/\" target=\"_blank\" rel=\"noopener\">Theatre Access NYC\u003c/a> launched — a collaboration between the \u003ca href=\"https://www.broadwayleague.com/home/\" target=\"_blank\" rel=\"noopener\">Broadway League\u003c/a>, which represents producers and theater owners, and the \u003ca href=\"https://www.tdf.org/\" target=\"_blank\" rel=\"noopener\">Theatre Development Fund\u003c/a>, a nonprofit that offers discount tickets and services to theatergoers with disabilities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.tdf.org/nyc/46/TDF-Staff-Board-of-Trustees\" target=\"_blank\" rel=\"noopener\">Lisa Carling\u003c/a>, TDF’s director of accessibility programs, says the goal of the website is to provide one stop where people with disabilities can find accessible performances.\u003c/p>\n\u003cp>A quick glance shows that most Broadway theaters are wheelchair accessible and offer open captioning and hearing assistance devices; there are also occasional special performances for people on the autism spectrum. But only \u003cem>four\u003c/em> long-running musicals, including \u003cem>The Lion King\u003c/em> and \u003cem>The Book of Mormon,\u003c/em> offer audio description.\u003c/p>\n\u003cp>Audio description has been around since the 1980s, says \u003ca href=\"https://www.accessibilityonline.org/ada-con/speakers/10570/?ret=speakers\" target=\"_blank\" rel=\"noopener\">Mark Annunziato\u003c/a>, vice president for operations and engineering at Sound Associates, a company that rents audio and video equipment to Broadway shows and develops audio description services.\u003c/p>\n\u003cp>In the past, groups of blind and low-vision customers attended special performances with a live interpreter. Since Broadway shows now use computers to trigger light, set and sound cues, automated audio description can be set up to work with those systems and offered at \u003cem>every\u003c/em> performance, with minimal cost — especially when Broadway musicals have budgets between $5 million and $25 million.\u003c/p>\n\u003cfigure id=\"attachment_11453177\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg\" alt=\"Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during 'Hamilton' GRAMMY performance\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11453177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP.jpg 886w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during ‘Hamilton’ GRAMMY performance \u003ccite>(Photo: Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The base system varies, but it usually ranges in and around $20,000,” Annunziato says. “So that would be the automation system, the computer system and the wireless broadcast system to all the devices.”\u003c/p>\n\u003cp>Then add $5,000 more to write, record and sync a script, and a monthly maintenance fee. When you’re talking about a hit show, the cost of setting up an audio description system more than pays for itself, says \u003ca href=\"http://www.hesherman.com/about/\" target=\"_blank\" rel=\"noopener\">Howard Sherman\u003c/a>, of the Alliance for Inclusion in the Arts.\u003c/p>\n\u003cp>“Certainly once a show sets up a sustained run — and when we look at musicals that run five, 10, 15, 20 years — it really is a very small price to pay for opening up a show to a much, much wider audience,” Sherman says.\u003c/p>\n\u003cp>That’s really what Dinin, Lasser’s attorney, is trying to say with this legal action. He is not seeking damages for his client — he can’t, under the terms of the ADA. He is trying to make sure that theater becomes more inclusive, by spotlighting the problem, using Broadway’s biggest hit.\u003c/p>\n\u003cp>“Audio description is so necessary,” Dinin says. “It’s the right thing to do. It’s not that expensive. And it’s just a thinking process. It’s a mindset. We have to get a mindset: How do we increase inclusion? It should be top-of-mind. Equality, accommodation and respect. Because once people put that at the decision-making table, all the services will flow from that.”\u003c/p>\n\u003cp>With the case ongoing, \u003cem>Hamilton\u003c/em>‘s producers declined to comment for this story. So did a number of other Broadway producers.\u003c/p>\n\u003cp>\u003cb>NOTE:\u003c/b>\u003ci>KQED has reached out to SHN, the promoters behind the Hamilton run in San Francisco. As of Wednesday morning, they had not replied to our email.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Radio editor Tom Cole and Web producer Beth Novey contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Blind+Theatergoer%27s+%27Hamilton%27+Lawsuit+Aims+Spotlight+On+Broadway+Accessibility&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 812,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705031239,
"excerpt": "The class-action suit brought against the hit musical doesn't seek damages. The attorneys say the hope is to draw attention to Broadway's spotty record in serving audiences with disabilities.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The class-action suit brought against the hit musical doesn't seek damages. The attorneys say the hope is to draw attention to Broadway's spotty record in serving audiences with disabilities.",
"title": "A Blind Theatergoer's 'Hamilton' Lawsuit Aims Spotlight On Broadway Accessibility | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Blind Theatergoer's 'Hamilton' Lawsuit Aims Spotlight On Broadway Accessibility",
"datePublished": "2017-03-15T08:00:40-07:00",
"dateModified": "2024-01-11T19:47:19-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-blind-theatergoers-hamilton-lawsuit-aims-spotlight-on-broadway-accessibility",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=520008274&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Jeff Lunden",
"nprStoryDate": "Tue, 14 Mar 2017 16:28:00 -0400",
"nprLastModifiedDate": "Tue, 14 Mar 2017 18:33:02 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/health-shots/2017/03/14/520008274/a-blind-theatergoers-hamilton-lawsuit-aims-spotlight-on-broadway-accessibility?ft=nprml&f=520008274",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/03/20170314_atc_a_blind_theatergoers_hamilton_lawsuit_aims_spotlight_on_broadway_accessibility.mp3?orgId=1&topicId=1144&d=295&p=2&story=520008274&t=progseg&e=520096680&seg=19&ft=nprml&f=520008274",
"nprAudioM3u": "http://api.npr.org/m3u/1520162982-d1995f.m3u?orgId=1&topicId=1144&d=295&p=2&story=520008274&t=progseg&e=520096680&seg=19&ft=nprml&f=520008274",
"nprStoryId": "520008274",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 14 Mar 2017 18:33:00 -0400",
"path": "/arts/12900328/a-blind-theatergoers-hamilton-lawsuit-aims-spotlight-on-broadway-accessibility",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/03/20170314_atc_a_blind_theatergoers_hamilton_lawsuit_aims_spotlight_on_broadway_accessibility.mp3?orgId=1&topicId=1144&d=295&p=2&story=520008274&t=progseg&e=520096680&seg=19&ft=nprml&f=520008274",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A recent lawsuit brought by a blind theatergoer against the producers of the hit musical \u003cem>Hamilton\u003c/em> has highlighted Broadway’s spotty track record in serving audiences with disabilities.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> opened almost a year and a half ago, but it’s \u003ca href=\"http://www.npr.org/2016/04/09/473503407/lin-manuel-miranda-talks-hamilton-once-a-ridiculous-pitch-now-a-revolution\">still the hottest ticket\u003c/a> on Broadway. Mark Lasser of Denver, who is blind, wanted to take his wife to the show and get audio description services to help him enjoy a performance. That means he hoped to get a headset and hear the stage action being described in real time, during the show. But he discovered that \u003cem>Hamilton\u003c/em> doesn’t offer this particular service.\u003c/p>\n\u003cp>“I think what this suit brings to light is that you have a hidden population out there that is not gaining the full access to Broadway,” says attorney \u003ca href=\"http://www.dininlaw.com/ada-claims/\" target=\"_blank\" rel=\"noopener\">Scott Dinin\u003c/a>, who is representing Lasser in the \u003ca href=\"https://www.classaction.org/blog/hamilton-production-companies-hit-with-civil-rights-class-action-lawsuit\">class-action suit\u003c/a> against the show’s producers and theater owner.\u003c/p>\n\u003cp>“Sometimes you need a lawsuit like this to bring this to the public’s attention,” Dinin says.\u003c/p>\n\u003cfigure id=\"attachment_11277676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg\" alt=\"Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11277676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON. \u003ccite>(Photo Credit: Joan Marcus )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Broadway has taken great strides in the decades since the Americans with Disabilities Act, or ADA, was passed in 1990. Last year, a new website called \u003ca href=\"http://www.theatreaccess.nyc/\" target=\"_blank\" rel=\"noopener\">Theatre Access NYC\u003c/a> launched — a collaboration between the \u003ca href=\"https://www.broadwayleague.com/home/\" target=\"_blank\" rel=\"noopener\">Broadway League\u003c/a>, which represents producers and theater owners, and the \u003ca href=\"https://www.tdf.org/\" target=\"_blank\" rel=\"noopener\">Theatre Development Fund\u003c/a>, a nonprofit that offers discount tickets and services to theatergoers with disabilities.\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>\u003ca href=\"https://www.tdf.org/nyc/46/TDF-Staff-Board-of-Trustees\" target=\"_blank\" rel=\"noopener\">Lisa Carling\u003c/a>, TDF’s director of accessibility programs, says the goal of the website is to provide one stop where people with disabilities can find accessible performances.\u003c/p>\n\u003cp>A quick glance shows that most Broadway theaters are wheelchair accessible and offer open captioning and hearing assistance devices; there are also occasional special performances for people on the autism spectrum. But only \u003cem>four\u003c/em> long-running musicals, including \u003cem>The Lion King\u003c/em> and \u003cem>The Book of Mormon,\u003c/em> offer audio description.\u003c/p>\n\u003cp>Audio description has been around since the 1980s, says \u003ca href=\"https://www.accessibilityonline.org/ada-con/speakers/10570/?ret=speakers\" target=\"_blank\" rel=\"noopener\">Mark Annunziato\u003c/a>, vice president for operations and engineering at Sound Associates, a company that rents audio and video equipment to Broadway shows and develops audio description services.\u003c/p>\n\u003cp>In the past, groups of blind and low-vision customers attended special performances with a live interpreter. Since Broadway shows now use computers to trigger light, set and sound cues, automated audio description can be set up to work with those systems and offered at \u003cem>every\u003c/em> performance, with minimal cost — especially when Broadway musicals have budgets between $5 million and $25 million.\u003c/p>\n\u003cfigure id=\"attachment_11453177\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg\" alt=\"Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during 'Hamilton' GRAMMY performance\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11453177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Hamilton-RuckusCROP.jpg 886w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music director Alex Lacamoire and Actor, composer Lin-Manuel Miranda celebrate on stage during ‘Hamilton’ GRAMMY performance \u003ccite>(Photo: Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The base system varies, but it usually ranges in and around $20,000,” Annunziato says. “So that would be the automation system, the computer system and the wireless broadcast system to all the devices.”\u003c/p>\n\u003cp>Then add $5,000 more to write, record and sync a script, and a monthly maintenance fee. When you’re talking about a hit show, the cost of setting up an audio description system more than pays for itself, says \u003ca href=\"http://www.hesherman.com/about/\" target=\"_blank\" rel=\"noopener\">Howard Sherman\u003c/a>, of the Alliance for Inclusion in the Arts.\u003c/p>\n\u003cp>“Certainly once a show sets up a sustained run — and when we look at musicals that run five, 10, 15, 20 years — it really is a very small price to pay for opening up a show to a much, much wider audience,” Sherman says.\u003c/p>\n\u003cp>That’s really what Dinin, Lasser’s attorney, is trying to say with this legal action. He is not seeking damages for his client — he can’t, under the terms of the ADA. He is trying to make sure that theater becomes more inclusive, by spotlighting the problem, using Broadway’s biggest hit.\u003c/p>\n\u003cp>“Audio description is so necessary,” Dinin says. “It’s the right thing to do. It’s not that expensive. And it’s just a thinking process. It’s a mindset. We have to get a mindset: How do we increase inclusion? It should be top-of-mind. Equality, accommodation and respect. Because once people put that at the decision-making table, all the services will flow from that.”\u003c/p>\n\u003cp>With the case ongoing, \u003cem>Hamilton\u003c/em>‘s producers declined to comment for this story. So did a number of other Broadway producers.\u003c/p>\n\u003cp>\u003cb>NOTE:\u003c/b>\u003ci>KQED has reached out to SHN, the promoters behind the Hamilton run in San Francisco. As of Wednesday morning, they had not replied to our email.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Radio editor Tom Cole and Web producer Beth Novey contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Blind+Theatergoer%27s+%27Hamilton%27+Lawsuit+Aims+Spotlight+On+Broadway+Accessibility&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12900328/a-blind-theatergoers-hamilton-lawsuit-aims-spotlight-on-broadway-accessibility",
"authors": [
"byline_arts_12900328"
],
"categories": [
"arts_235",
"arts_967"
],
"tags": [
"arts_1448",
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11683550",
"label": "arts_137"
},
"arts_12894686": {
"type": "posts",
"id": "arts_12894686",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12894686",
"score": null,
"sort": [
1489521613000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1489521613,
"format": "standard",
"title": "In New Pussy Riot Musical ‘Revolution,’ Foreshadowing of a Tough Fight Ahead",
"headTitle": "In New Pussy Riot Musical ‘Revolution,’ Foreshadowing of a Tough Fight Ahead | KQED",
"content": "\u003cp>Like most people who hear the words “Pussy Riot musical,” I arrived at the Regency Ballroom on Friday night not quite knowing what to expect. But lack of clarity about what we were about to witness didn’t seem to temper enthusiasm: A crowd of visibly excited people, mostly women — some of whom were wearing their pink hats from the Women’s March — piled into the third-floor lounge on March 10 for \u003cem>Revolution\u003c/em>, a new multimedia musical theater piece based on the forthcoming memoir of Pussy Riot’s Maria Alyokhina.\u003c/p>\n\u003cp>It marked another chapter for the activist/music collective, who first arrived in mainstream consciousness in 2012 after staging an anti-Putin protest at a Moscow cathedral. When members Maria Alyokhina and her bandmate Nadezhda Tolokonnikova received two-year sentences for a protest that lasted only 40 seconds, their plight as political prisoners made international headlines.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=grEBLskpDWQ\u003c/p>\n\u003cp>But for progressive Russian immigrants like myself, Pussy Riot became beacons of possibility. Authoritarianism has been ubiquitous in our home country for so long, most people don’t see the point of fighting. Centuries of political oppression have rendered Russian people cynical to the point of nihilism. The fact that a group of young women put themselves at risk to speak out in such a dramatic way was nothing short of revolutionary.\u003c/p>\n\u003cp>After their arrest, Pussy Riot came to be regarded as symbols of resistance abroad. Their brash feminism resonated with American audiences who were already primed on several decades of women’s liberation movements. Meanwhile, in Russia, their views were seen as fringe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But interesting things happened when Pussy Riot was released in 2013: Tolokonnikova and Alyokhina became activist-celebrities and seemed to enjoy their newfound fame. When they appeared on an episode of \u003cem>House of Cards\u003c/em>, where they criticized a fictional version of Putin at a dinner in Frank Underwood’s White House, some of my young, feminist Russian-American friends accused them of being too Hollywood. “Hadn’t they just served two years in a penal colony?” I thought. “If they want to have some fun now, we should let them live.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s-bKFo30o2o\u003c/p>\n\u003cp>Still, something seemed to be lost in translation in Pussy Riot’s attempts to cross over into mainstream America. In 2016, Tolokonnikova released two English-language singles as Pussy Riot, seemingly without the other group members’ involvement: “Make America Great Again” was an anti-Trump song set to an awkward combination of folk guitar and trap drums. And “Straight Outta Vagina,” a play on NWA’s “Straight Outta Compton,” presented itself as a radical, feminist statement. But with lyrics like \u003cem>Does your vagina have a brand?/Let your vagina start a band\u003c/em>, it came off as nonsensical at best and equating women with their genitals at worst.\u003c/p>\n\u003cp>Alyokhina’s \u003cem>Revolution, \u003c/em>which moved onto L.A. after one night in San Francisco on this national tour, taps into Pussy Riot’s legacy of avant-garde performance art in a much more authentic way.\u003c/p>\n\u003cp>Alyokhina took the stage with three collaborators: Nastia and Max (who go only by their first names) of “junk-punk” duo Asian Women on the Telephone, as well as actor Kiryl Masheka. Alyokhina and Masheka narrated, in Russian, the tale of Pussy Riot’s now famous 2012 “Punk Prayer” protest and subsequent incarceration in a remote, Siberian penal colony. A video projection with footage of the protest, courtroom drawings, and images from the penal colony played in the background, along with English subtitles to translate the dialogue on stage. Meanwhile, Nastia and Max played a live noise-punk soundtrack with drums, saxophone, and electronics.\u003c/p>\n\u003cp>It’s worth noting that director Yury Muravitsky wasn’t in attendance because, said Alyokhina, he was denied a travel visa into the United States. The reasons for the denial are unclear, but with the work’s subversive content — and the parallels between its critiques of Putin and anti-Trump rhetoric, along with the current debate over Trump’s travel ban — that news was enough to cause murmurs in the audience.\u003c/p>\n\u003cp>The performance was scrappy, but the DIY feel gave it plenty of charm. The actors actually had to restart the show after a few minutes because they had discovered that the subtitles weren’t showing up. But the audience only cheered louder the second time they declared “What about the revolution?” in the prologue. It’s also worth remembering, of course, Pussy Riot started out as a loose, informal collective of liberal arts students who staged guerrilla actions in public places and put videos of them on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_12895731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12895731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-800x480.jpg\" alt=\"'Revolution': Nastia from Asian Women on the Telephone, left, and Maria Alyokhina. \" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-1180x708.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-960x576.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-520x312.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Revolution’: Nastia from Asian Women on the Telephone, left, and Maria Alyokhina. \u003ccite>(Glen Casebeer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Revolution\u003c/em> was also a bit of a sensory overload, between Alyokhina’s motor-mouth monologues, the footage, and the experimental soundtrack vying for the viewers’ attention at once. She and the other actor would often break into song: he danced around like the frontman of a punk band as she recited her lines with an intense rigidity befitting her interpretations of Russian legal jargon and political rhetoric. The jumble of stimuli on stage created a Kafka-esque sense of confusion that conveyed, on an emotional level, the counterintuitive belief systems and Orwellian double-think required to sustain an authoritarian state.\u003c/p>\n\u003cp>A particularly emotive moment came as Alyokhina described being driven to the remote Siberian penal colony in an autozak (a Russian vehicle whose name is literally an acronym for “automobile for transporting the incarcerated”). “Next time you’re passing an autozak on the freeway, look closely. You might notice the eyes of an incarcerated person looking at you,” she said in Russian.\u003c/p>\n\u003cfigure id=\"attachment_12899708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12899708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-800x599.jpg\" alt=\"Maria Alyokhina, after her release from prison on Monday in Nizhny Novgorod, Russia.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maria Alyokhina, after her release from prison on Monday in Nizhny Novgorod, Russia. \u003ccite>(Sergei Karpukhin via NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Pussy Riot’s infamous arrest, Putin’s approval ratings have grown to 83 percent. There was a resistance movement, the so-called Snow Revolution of 2011, but over time, people grew complacent. Russia doesn’t have a viable opposition party; Putin’s outspoken critics, such as the former deputy prime minister Boris Nemtsov, mysteriously wind up dead; and public protests require permits from the state. Needless to say, it should be extremely alarming that the extent of Russia’s ties to the Trump administration are not yet known.\u003c/p>\n\u003cp>Alyokhina’s ultimate goal is to bring \u003cem>Revolution\u003c/em> to Russia — yes, her theater production, but also an actual revolution. Despite the traumatizing experiences she’s been through, she’s still fighting. That’s a powerful lesson for her American audience: that the fight for freedom is a slow, messy one; that one Women’s March isn’t enough to challenge the authoritarianism creeping into American politics; and that even though it’s hard, one needs to keep resisting.\u003c/p>\n\u003cp>Or, as Alyokhina said during the Q&A portion of the event: “The most dangerous prison is that which you can build inside your head.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1242,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705031247,
"excerpt": "At a time when anti-Putin protest and anti-Trump rhetoric look eerily similar, a new multimedia theater piece from Maria Alyokhina strikes a highly relevant note. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "At a time when anti-Putin protest and anti-Trump rhetoric look eerily similar, a new multimedia theater piece from Maria Alyokhina strikes a highly relevant note. ",
"title": "In New Pussy Riot Musical ‘Revolution,’ Foreshadowing of a Tough Fight Ahead | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In New Pussy Riot Musical ‘Revolution,’ Foreshadowing of a Tough Fight Ahead",
"datePublished": "2017-03-14T13:00:13-07:00",
"dateModified": "2024-01-11T19:47:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-new-pussy-riot-musical-revolution-foreshadowing-of-a-tough-fight-ahead",
"status": "publish",
"nprByline": "Nastia Voynovskaya",
"sticky": false,
"path": "/arts/12894686/in-new-pussy-riot-musical-revolution-foreshadowing-of-a-tough-fight-ahead",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like most people who hear the words “Pussy Riot musical,” I arrived at the Regency Ballroom on Friday night not quite knowing what to expect. But lack of clarity about what we were about to witness didn’t seem to temper enthusiasm: A crowd of visibly excited people, mostly women — some of whom were wearing their pink hats from the Women’s March — piled into the third-floor lounge on March 10 for \u003cem>Revolution\u003c/em>, a new multimedia musical theater piece based on the forthcoming memoir of Pussy Riot’s Maria Alyokhina.\u003c/p>\n\u003cp>It marked another chapter for the activist/music collective, who first arrived in mainstream consciousness in 2012 after staging an anti-Putin protest at a Moscow cathedral. When members Maria Alyokhina and her bandmate Nadezhda Tolokonnikova received two-year sentences for a protest that lasted only 40 seconds, their plight as political prisoners made international headlines.\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/grEBLskpDWQ'\n title='//www.youtube.com/embed/grEBLskpDWQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But for progressive Russian immigrants like myself, Pussy Riot became beacons of possibility. Authoritarianism has been ubiquitous in our home country for so long, most people don’t see the point of fighting. Centuries of political oppression have rendered Russian people cynical to the point of nihilism. The fact that a group of young women put themselves at risk to speak out in such a dramatic way was nothing short of revolutionary.\u003c/p>\n\u003cp>After their arrest, Pussy Riot came to be regarded as symbols of resistance abroad. Their brash feminism resonated with American audiences who were already primed on several decades of women’s liberation movements. Meanwhile, in Russia, their views were seen as fringe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But interesting things happened when Pussy Riot was released in 2013: Tolokonnikova and Alyokhina became activist-celebrities and seemed to enjoy their newfound fame. When they appeared on an episode of \u003cem>House of Cards\u003c/em>, where they criticized a fictional version of Putin at a dinner in Frank Underwood’s White House, some of my young, feminist Russian-American friends accused them of being too Hollywood. “Hadn’t they just served two years in a penal colony?” I thought. “If they want to have some fun now, we should let them live.”\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/s-bKFo30o2o'\n title='//www.youtube.com/embed/s-bKFo30o2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, something seemed to be lost in translation in Pussy Riot’s attempts to cross over into mainstream America. In 2016, Tolokonnikova released two English-language singles as Pussy Riot, seemingly without the other group members’ involvement: “Make America Great Again” was an anti-Trump song set to an awkward combination of folk guitar and trap drums. And “Straight Outta Vagina,” a play on NWA’s “Straight Outta Compton,” presented itself as a radical, feminist statement. But with lyrics like \u003cem>Does your vagina have a brand?/Let your vagina start a band\u003c/em>, it came off as nonsensical at best and equating women with their genitals at worst.\u003c/p>\n\u003cp>Alyokhina’s \u003cem>Revolution, \u003c/em>which moved onto L.A. after one night in San Francisco on this national tour, taps into Pussy Riot’s legacy of avant-garde performance art in a much more authentic way.\u003c/p>\n\u003cp>Alyokhina took the stage with three collaborators: Nastia and Max (who go only by their first names) of “junk-punk” duo Asian Women on the Telephone, as well as actor Kiryl Masheka. Alyokhina and Masheka narrated, in Russian, the tale of Pussy Riot’s now famous 2012 “Punk Prayer” protest and subsequent incarceration in a remote, Siberian penal colony. A video projection with footage of the protest, courtroom drawings, and images from the penal colony played in the background, along with English subtitles to translate the dialogue on stage. Meanwhile, Nastia and Max played a live noise-punk soundtrack with drums, saxophone, and electronics.\u003c/p>\n\u003cp>It’s worth noting that director Yury Muravitsky wasn’t in attendance because, said Alyokhina, he was denied a travel visa into the United States. The reasons for the denial are unclear, but with the work’s subversive content — and the parallels between its critiques of Putin and anti-Trump rhetoric, along with the current debate over Trump’s travel ban — that news was enough to cause murmurs in the audience.\u003c/p>\n\u003cp>The performance was scrappy, but the DIY feel gave it plenty of charm. The actors actually had to restart the show after a few minutes because they had discovered that the subtitles weren’t showing up. But the audience only cheered louder the second time they declared “What about the revolution?” in the prologue. It’s also worth remembering, of course, Pussy Riot started out as a loose, informal collective of liberal arts students who staged guerrilla actions in public places and put videos of them on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_12895731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12895731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-800x480.jpg\" alt=\"'Revolution': Nastia from Asian Women on the Telephone, left, and Maria Alyokhina. \" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-1180x708.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-960x576.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-520x312.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Revolution’: Nastia from Asian Women on the Telephone, left, and Maria Alyokhina. \u003ccite>(Glen Casebeer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Revolution\u003c/em> was also a bit of a sensory overload, between Alyokhina’s motor-mouth monologues, the footage, and the experimental soundtrack vying for the viewers’ attention at once. She and the other actor would often break into song: he danced around like the frontman of a punk band as she recited her lines with an intense rigidity befitting her interpretations of Russian legal jargon and political rhetoric. The jumble of stimuli on stage created a Kafka-esque sense of confusion that conveyed, on an emotional level, the counterintuitive belief systems and Orwellian double-think required to sustain an authoritarian state.\u003c/p>\n\u003cp>A particularly emotive moment came as Alyokhina described being driven to the remote Siberian penal colony in an autozak (a Russian vehicle whose name is literally an acronym for “automobile for transporting the incarcerated”). “Next time you’re passing an autozak on the freeway, look closely. You might notice the eyes of an incarcerated person looking at you,” she said in Russian.\u003c/p>\n\u003cfigure id=\"attachment_12899708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12899708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-800x599.jpg\" alt=\"Maria Alyokhina, after her release from prison on Monday in Nizhny Novgorod, Russia.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maria Alyokhina, after her release from prison on Monday in Nizhny Novgorod, Russia. \u003ccite>(Sergei Karpukhin via NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Pussy Riot’s infamous arrest, Putin’s approval ratings have grown to 83 percent. There was a resistance movement, the so-called Snow Revolution of 2011, but over time, people grew complacent. Russia doesn’t have a viable opposition party; Putin’s outspoken critics, such as the former deputy prime minister Boris Nemtsov, mysteriously wind up dead; and public protests require permits from the state. Needless to say, it should be extremely alarming that the extent of Russia’s ties to the Trump administration are not yet known.\u003c/p>\n\u003cp>Alyokhina’s ultimate goal is to bring \u003cem>Revolution\u003c/em> to Russia — yes, her theater production, but also an actual revolution. Despite the traumatizing experiences she’s been through, she’s still fighting. That’s a powerful lesson for her American audience: that the fight for freedom is a slow, messy one; that one Women’s March isn’t enough to challenge the authoritarianism creeping into American politics; and that even though it’s hard, one needs to keep resisting.\u003c/p>\n\u003cp>Or, as Alyokhina said during the Q&A portion of the event: “The most dangerous prison is that which you can build inside your head.”\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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12894686/in-new-pussy-riot-musical-revolution-foreshadowing-of-a-tough-fight-ahead",
"authors": [
"byline_arts_12894686"
],
"categories": [
"arts_69",
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_913"
],
"featImg": "arts_12900121",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=theater": {
"isFetching": false,
"latestQuery": {
"from": 540,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 979,
"relation": "eq"
},
"items": [
"arts_13014545",
"arts_13000457",
"arts_12978132",
"arts_12969040",
"arts_12946318",
"arts_12943603",
"arts_12944030",
"arts_12933517",
"arts_12911335",
"arts_12909297",
"arts_12900328",
"arts_12894686"
],
"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_theater": {
"isLoading": true
},
"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_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_1698": {
"type": "terms",
"id": "arts_1698",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1698",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feature #100daysart",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feature #100daysart Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1710,
"slug": "feature-100daysart",
"isLoading": false,
"link": "/arts/tag/feature-100daysart"
},
"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_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_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_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_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_626": {
"type": "terms",
"id": "arts_626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 634,
"slug": "the-do-list-featured",
"isLoading": false,
"link": "/arts/tag/the-do-list-featured"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_1448": {
"type": "terms",
"id": "arts_1448",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1448",
"found": true
},
"relationships": {},
"featImg": null,
"name": "art wire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "art wire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1460,
"slug": "art-wire",
"isLoading": false,
"link": "/arts/tag/art-wire"
},
"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_1642": {
"type": "terms",
"id": "arts_1642",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1642",
"found": true
},
"relationships": {},
"featImg": null,
"name": "#100daysart",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "#100daysart Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1654,
"slug": "100daysart",
"isLoading": false,
"link": "/arts/tag/100daysart"
},
"arts_1730": {
"type": "terms",
"id": "arts_1730",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1730",
"found": true
},
"relationships": {},
"featImg": null,
"name": "nea",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "nea Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1742,
"slug": "nea",
"isLoading": false,
"link": "/arts/tag/nea"
},
"arts_913": {
"type": "terms",
"id": "arts_913",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "913",
"found": true
},
"relationships": {},
"featImg": null,
"name": "punk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "punk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 931,
"slug": "punk",
"isLoading": false,
"link": "/arts/tag/punk"
}
},
"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
}
}
